Dissertations / Theses on the topic 'Australian poetry'
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1
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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Reddy, Colleen. "Ecological consciousness in modern Australian poetry." Thesis, Queensland University of Technology, 1998.
Find full textAbstract:
One of the most significant issues confronting humanity as the twentieth century draws to a close is that concerning environmental degradation. This study posits the dual notion that at the centre of any movement to protect the earth from further degradation there must be a change in the predominant anthropocentric worldview, and that there is a role for poets to help bring about such change by
writing ecologically-conscious poetry. The study explains what is meant by ecological consciousness as distinct from a
conservation or environmental ethic. There follows a brief discussion of Deep Ecology (the philosophical perspective which, along with others, critiques human domination of nature) and a survey of relevant literature. The growth of an Australian poetic and the concomitant development of an Australian relationship with the land are also surveyed. Then, through a process of close reading, comparative analysis and discourse, the work of a number of poets (both
indigenous and non-indigenous) is considered for its ecological awareness. The study highlights some pivotal ideas for the development of a new worldview:
these are the development of a non-anthropocentric perspective of nature similar to that embraced by adherents of Deep Ecology; acceptance of the notion that nature
is ambivalent (that the cycle of life is also a cycle of death and decay); and the possible use of indigenous people's deeply ecological relationship with the land as
a basic model on which to build a new worldview. The study contends that only poetry which is grounded in ecocentrism, rather than anthropocentrism, can claim to be ecologically-conscious. It concludes by reaffirming the need for poets to
encourage a change in the prevailing anthropocentric worldview by adopting a deeply-ecological focus on nature in some of their poetry.
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Fitch, Toby Patrick Brian. "Themparks: Alternative Play in Contemporary Australian Poetry." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15993.
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Themparks is a creative and critical thesis consisting of a book of poems—The Bloomin’ Notions of Other & Beau—and two experimental essays that illuminate the praxis behind the book of poems, not by auto-critique, but via a study of other contemporary Australian poets whose poetry involves similar compositional approaches. The Bloomin’ Notions of Other & Beau hijacks the prose poems of Arthur Rimbaud’s famously incomplete manuscript Illuminations and re-verses their content—a “Down Under conceit”—to create “inversions”, radically new poems that are ludic and multiple in form, that complicate authorial subjectivity by employing various methods of (mis)translation and appropriation, and whose subject matter reflects and refracts political and personal fragmentation in twenty-first century Australia. “Themparks”, the first critical essay, is a divagation into thempark by contemporary Australian poet Michael Farrell, the poems of which transpose/depose the structures of poems by John Ashbery; “Themparks” also analyses John Ashbery’s translations of the Illuminations of Arthur Rimbaud via a re-reading of Rimbaud’s famous formulation, “I is an other” (Je est an autre). “Aussi/Or”, the second critical essay, is a disquisition on Stéphane Mallarmé’s late innovative poem Un Coup de dés and its various antipodean versions and (mis)translations written by Christopher Brennan (in 1897), Chris Edwards and John Tranter (both in 2006). Both essays/assays explore the (anti)genre of poetic rewritings of previous poems; both trace certain homosocial poetic lineages from self-consciously “experimental” contemporary Australian poets back through American and Australian postmodernists to early modernist French poets; both raise/raze issues of translation, appropriation, plagiarism, and reproduction while employing—metonymically—some parallel theoretical tropes from psychoanalysis, linguistics, philosophy, and science. The guiding thread—the fil conducteur latent in Mallarmé—between the creative and critical components of this thesis is a poetics of the pun. The pun’s promiscuity highlights the highly libinal nature of language-tampering while working to both associate and dissociate parataxis and parapraxis.
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Burke, Andrew. "Two collections of poetry, Whispering gallery [and] Flight log: Selected Poems 1967-2001: Plus an Essay: The Roots of My Writing." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/291.
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This presentation includes two collections of poetry and one essay. There are two collections of poetry because one of them, Flight Log, is a 'Selected Poems' which necessarily includes much work not written during the course of my MA. However, I contend that the process of constructing a 'selected' collection is as creative as the editing process one knows through writing poetry, and that respect for one former creativity is a vital part of the artist's continuing productivity. The new manuscript, Whispering Gallery, is the text of my fifth book, published by Sunline Press in November 2001. Originally it was envisaged as a collection of contemporary haibun in a form predominantly created by John Tranter, but creating to a set form became a chore rather than a creative delight, so I returned to a fundamental lyric form for many of the later poems. Hopefully it now has a wide range of tones and moods yet is cohesive through form and content.
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Jeffery, Ella M. "Dead Bolt: Unhomely renovations and contemporary Australian poetry." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/122955/1/Ella_Jeffery_Thesis.pdf.
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Australia is in the grip of an obsession with house renovation. This practice-led thesis examines how acts of house renovation can be represented, interrogated and contested in lyric poetry, arguing that the renovated house is an unhomely, liminal space. The project consists of a 90-page collection of poetry titled Dead Bolt, and an exegesis titled Intimate Architecture. Using lyric poetry, the project reveals that the renovated house is a deeply unhomely space, one which is both familiar and strangely unfamiliar: a space that encapsulates both the destroyed house of the past and the unknown house of the future.
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Smith, Yvonne J. "Brightness under our shoes the redress of the poetic imagination in the poetry and prose of David Malouf 1960-1982 /." Connect to full text, 2008. http://hdl.handle.net/2123/5139.
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Thesis (Ph. D.)--University of Sydney, 2009.Title from title screen (viewed July 13, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Degree awarded 2009; thesis submitted 2008. Includes appendices. Includes bibliography. Also available in print form.
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Davidson, Toby, and tdavidso@deakin edu au. "Born of fire, possessed by darkness : mysticism and Australian poetry." Deakin University. School of Communication and Creative Arts, 2008. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20090218.124155.
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This dissertation is structured around five Australian mystical poets: Ada Cambridge,
John Shaw Neilson, Francis Webb, Judith Wright and Kevin Hart. It examines the
varieties of Western Christian mysticism upon which these poets draw, or with which
they exhibit affinities. A short prelude section to each chapter considers the thematic
parallels of their contemporaries, while the final chapter critically investigates
constructions of Indigeneity in Australian mystical poetry and the renegotiated
mystical poetics of Indigenous poets and theologians.
The central argument of this dissertation is that an understanding of Western
Christian mysticism is essential to the study of Australian poetry. There are three
sub-arguments: firstly, that Australian literary criticism regarding the mystical
largely avoids the concept of mysticism as a shifting notion both historically and in
the present; secondly, that what passes for mysticism is recurringly subject to poorly
defined constructions of mysticism as well as individual poets use of the mystical
for personal, creative or ideological purposes; thirdly, that in avoiding the concept of
a shifting notion critics have ignored the increasing contribution of Australian poets
to national and international discourses of mysticism.
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Healey, Margaret. "Place and space in the rhetoric of Australian colonial poetry." Thesis, Federation University Australia, 2002. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/164822.
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"This study focuses on poetry as evidence for the presence of a conceptual side to the nature of place. It utilises the poetry of the early European period in Australia to explore aspects of the manner in which concepts of place are transmitted through a community. It works through this poetry, seeking for rhetoric, for arguments about the nature of place and the values of particular aspects of place, rather than for particularly literary virtues of originality of language use"Doctor of Philosophy
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McCarthy, Bridie Clare, and bridiecmccarthy@yahoo com au. "At the limits: Postcolonial & Hyperreal Translations of Australian Poetry." Deakin University. School of Communication and Creative Arts, 2006. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20070329.093702.
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This dissertation employs the methodologies of postcolonial theory and hyperreal theory (following Baudrillard), in order to investigate articulations of identity, nation and representation in contemporary Australian poetry. Informed by a comparative analysis of contemporary Latin American poetry and cultural theory (in translation), as a means of re-examining the Australian context, this dissertation develops a new transnational model of Australian poetics.
The central thesis of this dissertation is that contemporary Australian poetry engages with the postcolonial at its limits. That is, at those sites of postcoloniality that are already mapped by theory, but also at those that occur beyond postcolonial theory. The hyperreal is understood as one such limit, traceable within the poetry but silenced in conventional postcolonial theory. As another limit to the postcolonial, this dissertation reads Latin American poetry and theory, in whose texts postcolonial theory is actively resisted, but where postcolonial and hyperreal poetics nevertheless intersect.
The original critical context constructed by this dissertation enables a new set of readings of Australian identity through its poetry. Within this new interpretative context, the readings of contemporary Australian poetry articulate a psycho-social postcoloniality; offer a template for future transactions between national poetry and global politics; and develop a model of the postcolonial hyperreal.
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Ryan, John C. "Plants, people and place : cultural botany and the Southwest Australian flora." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/426.
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The Southwest corner of Western Australia has a distinctive culture of flora. In particular, the region is an internationally lauded destination for wildflower tourism. Aesthetic values inform the Southwest’s contemporary culture of flora and its products: photographs of flowers, botanical illustrations, taxonomic schemata and visually based landscape writings. In dynamic combination with sight, however, multi-sensoriality enhances cultures of flora through sensation. Hence, this thesis argues that it is vital to consider how bodily experiences deepen the appreciation of floristic appearances. Through readings of cultural, literary and historical sources, I propose floraesthesis as an embodied aesthetics of plants. The ancient concept of aesthesis, the root of the modern term aesthetics, comprises sensations—induced by the many senses—as gestures of curiosity. Whereas floraesthesis theorises corporeal appreciation, a visual aesthetic tends to distance plants from human appreciators. The latter may posit plants hierarchically as objects of visual art or constructs of quantitative science. This project puts into practice a critical humanities-based model that I call cultural botany. Following a progression of readings from colonial to contemporary times, I trace a continuum from floral aesthetics to floraesthesis through the cultural botany context. Using an integrative Thoreauvian-Heideggerean theoretical framework, I describe floral aesthetics as constituted by culture and language. As Thoreau and Heidegger suggest, embodied appreciation is predicated on language. I then theorise floraesthesis through readings of written and spoken materials: historic and contemporary literatures; colonialera botanical documents; transcriptions of ethnographic interviews; and my poetic enquiries as interludes throughout the text. A qualitative methodology, which I term botanic field aesthetics, comprises poetic practice, ethnographic interviewing and field walking set within an extensive historical context and organised around three places: Lesueur National Park, Fitzgerald River National Park and Anstey-Keane Damplands.
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Cheers, Rebecca. "Knowing Anne Brennan: Lyric poetry as feminist biography." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/206891/1/Rebecca_Cheers_Thesis.pdf.
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This practice-led thesis explores the use of lyric poetry as a form of feminist biography through the writing of a poetic biography, No Camelias, on the life of Anne Brennan, a figure of Australian literary history whose life has been sparsely recorded, and whose existing historical profile is marred by misogyny and indifference. The creative manuscript is accompanied by an exegetical essay which analyses poetry by Natalie Harkin and Jessica Wilkinson, two poets who explore marginalised histories through contrasting poetic approaches to archival research. Together, these connected components re-present Anne Brennan’s life through feminist grief, subjectivity and empathy.
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McCuaig, Nicole M. "Transmitting the Impulse: The Creative Treatment of Ronald McCuaig's Poetry and Actuality." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/404460.
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The object of this research is to expand the practice of archiveology, a term coined by Joel Katz in 1991 and theorised more recently by Catherine Russell to describe the process of reusing found archival footage in expository documentary to “produce new modes of thinking about the past” (2018, 47). This research will experiment with poetry as a source of archive, adding to the more commonly deployed materials such as film, still photographs, or letters used in documentary production. The intention of the work is to illuminate the literary career of the Australian poet Ronald McCuaig (1908–1993), who was also my grandfather. Ronald McCuaig was described by Australian author Geoffrey Dutton as “Australia’s first modern poet” (1986, 49), and was widely respected for his literary contribution, which spanned from the 1930s to the 1990s. In recent years, however, his work and career had begun to fade from view. As an established documentary filmmaker, I have completed a significant practice-based study, experimenting with production methods for multiplatform outcomes. The rich archive collection that emerged throughout the study led me to question how it is possible to do justice to literature through my usual documentary practice. I have initiated a hermeneutical experiment, re-versioning McCuaig’s literary work—predominantly poetry—through the methodologies of archiveology and videopoetry.
Over the past ten years, audience screening options and spaces have changed dramatically, providing opportunities to develop work that provides for a multifaceted viewing experience, adding online spaces to traditional cinema or television viewing. These options provide an opportunity to experiment with archiveological practices for new viewing artefacts such as videopoems. I aim to demonstrate the impact of Ronald McCuaig’s original work and its potential to provide powerful social commentary, still of relevance in 2020, using Walter Benjamin’s ‘dialectical image’ as a conceptual framework. The outcome of poetry from the 1930s, reimagined into videopoetry with companion documentary sequences, results in a synthesis and an unusual and expanded outcome for a documentary filmmaker: a gallery exhibition. Rather than a single screening event, the exhibition includes multiple screening spaces, a material culture collection, furniture installations, an exhibition publication, digitised original anthologies, and an online space. The combination of these outputs and proposed future endeavours provides audiences with a more visceral connection to the poet, his life and work.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Manning, Joanne Melissa. "Subversive voices a study of text and performance in the interpretation and realisation of experimental poetry /." Phd thesis, Australia : Macquarie University, 2005. http://hdl.handle.net/1959.14/47260.
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"March 2002".Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2005.
Bibliography: p. 324-344.
Introduction: framing the texts -- Subversive voices -- Formulating a theoretical position -- Performance: a complete process -- On second thoughts: rewriting contemporary culture -- Performing On second thoghts -- Dialogic voices: Amanda Stewart and # -- Performing # -- Voices of desire: Ania Walwicz and Soft -- Performing Soft -- Marginal voices: Hazel Smith and Poet without language -- Performing Poet without language -- Conclusions: interpreting subversive voices.
This study considers the text and performance of four Australian experimental poets, Chris Mann, Amanda Stewart, Ania Walwicz and Hazel Smith. My aim is to demonstrate how the genre of experimental poetry uses language and performance in such a way as to rewrite existing dominant discourses. The challenge as an analyst is to find ways into such reflexive texts that use intertextual resources of critical theory as their subject matter. The perspective employed here engages with the theories posited by the texts and allows for a theoretical position removed from the structure and theories informing them. -- The study is organised in two parts. First, I consider the subversiveness of the genre drawing on Raymond Williams' notion of the emergent, followed by a discussion of important predecessors in the field of experimentation. I then outline the particular method of enquiry and theoretical framework used here to analyse the meaning potential of such works. Systemic Functional Grammar and Multimodal Discourse theory are discussed and their particular application in this study. The second part of the thesis applies these theories to the experimental works. -- I begin explaining my theoretical position by considering the weakness of the commonly used theories of Kristeva's 'semiotic' to analyse such works. I found Systemic Functional Grammar, as developed by Michael Halliday and then Terry Threadgold, to be a useful tool for elucidating the meaning potential behind the fractured grammars in the texts. It also provided a way of conceptualising enunciative positions and the way intertextual resources might be rewritten. From within this linguistic framework I was able to discern subversive messages from the intertwined theories ranging across the texts from Marxism, structuralism, psychoanalysis, feminism and multiculturalism. -- The performance posed another challenge as the improvised spoken texts, uniquely performed by these artists, create a subversive listening position for the audience, which engages with both the words and sounds for their sonic and semantic qualities. I consider many ways of addressing the role and behaviour of the performer and listener as well as the performance as a creative process, emerging from the two. I engage the model put forward by Kress and Van Leeuwen for analysis of multimodal texts which provides a functional approach to meaning potential in the performance and its varying layers. Within this model, I found prosody most useful for its ability to notate intonation, key, disjuncture and stress, exposing the dialogic voices and the relationship between semantics and sound in the performances. This form of communication is equivalent to the indexical entailment of sound and music which forms the basis for communication between performers, and between performer and audience. The dialogic situation is enhanced by both prosody and indexical entailment providing possible meanings. I use some traditional musicological analysis but my aim is to move away from such formalistic descriptions to consider culturally inscribed sounds and their interpretation using a functional model. -- Throughout, the complexity of experimental performance is evident but the theoretical frame used here might be applied to other works of this nature as a means of further understanding the semiotic web in subversive texts.
Mode of access: World Wide Web.
344 p., music
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Buchanan, David. "Contextual thesis Part I & Part II : Book of poems, "Looking off the Southern Edge" ; Stage play (full-length): Ecstasis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1015.
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This thesis, which accompanies my book of poems Looking Off the Southern Edge and my full-length stage play Ecstasis, is submitted in two parts: Part-I and Part-II. Part-l contextualises the writing practice of the above poems in considering the epistemological, autobiographical and landscape contexts of my poetry. Part-I then discusses how the poetry is involved in the process of decentring subjectivity within the southern India/Pacific arena. It should be pointed out that Part-I was submitted and marked last year, as the first year component of the Master of Arts (Writing) course. It is included this year because much of its thesis informs Part-II (and indeed is referred to and referenced by Part-II), especially in terms of my general theoretical approach to writing poems, plays, as well as the relevance of my music, painting and stained glass practices. Part II mostly addresses the writing of the play Ecstasis. I have however, discussed why I have re-edited, augmented and re-submitted my book of poems. I have then contextualised the writing of the play, by addressing the areas of Apophasis and the Aporia of 'the story', An Ecstatic Dramaturgy and the Undecidable Subject, and Ecstasis and an Endemic Specificity. This play was written, workshopped and enjoyed a partially moved reading (as late as the 11th, November) in the course of this year. While the writing of the piece is addressed under the previous headings, the workshopping and reading process is discussed in Workshopping the 'Spectacle Text' in the Co-operative Medium of 'Theatre. I have also included Appendix (i) in support of this process, in particular, the changes inspired by the reading. The conclusion discusses some of the boundaries for my writing of A Poetry and The Spectacle Text for theatre, and hints at the context required for any writing of experimentation in the southern Indian/Pacific arena.
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Smith, Gregory Brian, and res cand@acu edu au. "Images of Salvation: A study in theology, poetry and rhetoric." Australian Catholic University. School of Theology, 2007. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp144.17052007.
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Humankind yearns for reconciliation, fulfilment and salvation, and the human heart has always sought deliverance from negative forces. In particular, this yearning for salvation is most apparent when poets envisage such yearning in living situations and in recognisable life circumstances. Reading them shows how the quest for salvation is being achieved in daily steps that incarnate movements of hope and a contesting of despair. This dissertation captures some significant images of salvation expressed in selected Australian poetry. It argues that what is classically called final salvation is imaged in the trope of transcendence in poetry. Because the concept of salvation both indicates the right path and promises a way of liberation and fulfilment, gaining salvation is not an escape from the world, but rather an engagement with it, through just and humane actions. The study’s poetic selections image salvation as redressing wrongs, regenerating the land, seeking new life, and envisaging better states of affairs. This dissertation functions at the interface of theology and poetry. It shows how a reader in the Christian community may identify some key images in public poetry as foreshadowing religious salvation. This is possible because, like the poet engaging in an aesthetic experience, the believer brings a remarkable openness to reality in the exercise of the religious imagination. This analogical imagination identifies images in poetry that do touch the human spirit in deeply spiritual ways. The study employs the competence of methodical hermeneutic interpretation. It proceeds as an aesthetic-theological reading employing critical-analytical scholarship. Rather than attempt a formal explication of authorial intent, the hermeneutic reads in a careful excavation of the poems for those significant “scraps of experience” that coax the imagination towards hope in the mystery of salvation. The dissertation approaches the poetic texts using “Christian literary theory” as its hermeneutical framework. The dissertation presents readings of selected poetry and prose of three celebrated Australian voices, Judith Wright, Les A. Murray and David Malouf. The study’s primary data are their poetic images recognising and affirming the dream of transcendence embodied in human happiness, moments of rescue and relief, events of forgiveness and transformation, and insights for a better life for humans and the planet. The study shows how poetical insights image partial fulfilments in transcendent perceptions, transformed personal destinies and envisaged social reforms. This exercise in contextual theology searches for depth and perennial resonances that sustain Australians in their culture. The discussion is especially concerned with the poetic use of the trope of hope and its effects, and especially with the power of metaphor for accessing the sublime. The study distils ten virtues for salvation from the readings of the selected poems as pathways for implementing salvation in the world. The study presents poetic images of promise, rescue and transformation that refresh discourses regarding salvation.
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Cooley, Shevaun. "Homing : poetry ; &, An essay on the poetic leap in the late work of R.S. Thomas." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/850.
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Homing, as a collection, speaks to the capacity and yearning to navigate our way towards something we might call home. In animal behaviour, this seems like an instinct, hard-wired to the body. It is something I envy. By comparison, the instinct, in human behaviour, feels muffled and complicated.
These poems move between two places in which I feel ‘at home’, whatever that means: the south-west of Western Australia, where I was born and raised, and the north-west of Wales, where I lived for a time, and find myself returning to, drawn not by blood, but by longing, and a deep affinity for the landscape. Without any real intention, in the writing of the poems I found I had a lot to say about rivers. In particular, I found myself repeating images of drifting and gripping, as if these two, opposing, compulsions also said something about how we try to find our way home. The poet Mark Doty speaks of a “fierce internal debate between staying moored and drifting away, between holdings and letting go.”1 It is as if the river, too, knows something of how to arrive, and yet its movement is much like that of these poems, pulled by new hungers, at times distracted, or slowed, or apparently lost. Drift. Grip. Perhaps it is, after all, another kind of instinct.
In the critical essay that accompanies the poems, I look at the poetic leap in the work of the Welsh poet and priest R.S. Thomas. I was initially compelled by a strange parallel between an actual physical leap of escape, enacted by Thomas, who leapt a graveyard wall in order to avoid speaking to the mourners to whom he had just ministered a funeral service, and the leap found in Italo Calvino’s essay on lightness. This leap is also one of escape, in which the poet-philosopher Guido Calvcanti places a hand on a grave and leaps lightly over it, in order to elude the taunts of some local louts. Calvino calls this act, “an auspicious image for the new millennium.”2
In poetry we find the leap in the act of making metaphor, in enjambment, even in a kind of concentration. In Thomas’s work, the leap is focused in the form of the raptor; a presence repeated through his oeuvre, carrying with it many of his chief concerns, about God, love, and the inherent ferocity of the natural world. In a close reading of those poems, and with the aid of thinkers as disparate as Helene Cixous, Roland Barthes, Simone Weil and Edward Said, this essay is an attempt to trace the ways the leap works in Thomas’s poetry. It is also an attempt to analyse and understand the way poetry itself works to move the reader, in all senses of the word.
1Doty, M. (2001). Still life with oysters and lemon. Boston: Beacon Press, p.7
2Calvino, I. (2009). Six memos for the new millennium. (P. Creag, Trans.) London: Penguin Classics, p.12
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Nidl-Taylor, Jaki. "(W)rites of passage : kinds of (w)riting, kinds of (k)nowing /." View thesis View thesis, 2000. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030501.164302/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2000."This thesis is presented for the degree of Doctor of Philosophy at the University of Western Sydney, Hawkesbury" Bibliography : leaves 170-191.
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Parsons, Elizabeth, and mikewood@deakin edu au. "Poetry and silence: a sequence of disappearances." Deakin University. School of Literary and Communication Studies, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.133358.
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Lang, Anouk Elise. "Radical paradigms : reading nation, race and gender in Canadian and Australian modernist poetry, 1925-1985." Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.613739.
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Shiel, Erin Patricia. "Breathing in art, breathing out poetry: Contemporary Australian art and artists as a source of inspiration for a collection of ekphrastic poems." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15995.
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During the course of this Master of Arts (Research) program, I have written The Spirits of Birds, a collection of thirty-five ekphrastic poems relating to contemporary Australian art. The exegesis relating to this poetry collection is the result of my research and reflection on the process of writing these poems. At the outset, my writing responded to artworks viewed in galleries, in books and online. Following the initial writing period, I approached a number of artists and asked if I could interview them about their sources of inspiration and creative processes. Six artists agreed to be interviewed. The transcripts of these interviews were used in the writing of further poetry. The interviews also provided an insight into the creative processes of artists and how this might relate to the writing of poetry. The exegesis explores this process of writing. It also examines the nature of ekphrasis, how this has changed historically and the type of ekphrastic poetry I have written in the poetry collection. In analysing the poems and how they related to the artworks and artists, I found there were four ways in which I was responding to the artworks: connecting to a symbolic device in the artwork, exploring the inspiration or creative process of the artist, drawing out a life experience or imagined narrative through the artwork and echoing the visual appearance of the artwork in the form of the poem. My exegesis considers these different forms and draws some links between the creative processes of the artists interviewed and the writing of poetry.
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Rieth, Homer Manfred University of Ballarat. "A locale of the cosmos : an epic of the Wimmera : exegesis and text." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12757.
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"This project has, for its central component, an epic poem, 'A locale of the cosmos'. The accompanying exegesis examines epic as an ancient, but continually evolving form. It argues that, as a contemporary example of the genre and, as a sustained poetic rumination on landscape and memory, 'A locale of the cosmos' represents a significant development within the modern tradition of autobiographical epic. In broader terms, 'A locale of the cosmos' privileges the landscape and history of a region of Australia, the Wimmera region of north-western Victoria and, in doing so, explores the cumulative effects of the physical environment as a site for sustained poetic treatment. The poem is, therefore, an epic of both historical narrative and philosophical reflection, giving meaning to and interpreting ideas of space, place and locale. "Furthermore, it explores, in particular, the psychological and spiritual effects of vast horizontal distances, created by a landscape in which endless plains and immense horizons form an analogue of the wider cosmos. The poem's themes, therefore, bear not only on the prominences of the visible locale, but also explore the salients of an interior world, a landscape of the mind to which the poetry gives shape and meaning."Doctor of Philosophy
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Rieth, Homer Manfred. "A locale of the cosmos : an epic of the Wimmera : exegesis and text." Thesis, University of Ballarat, 2006. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/38812.
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"This project has, for its central component, an epic poem, 'A locale of the cosmos'. The accompanying exegesis examines epic as an ancient, but continually evolving form. It argues that, as a contemporary example of the genre and, as a sustained poetic rumination on landscape and memory, 'A locale of the cosmos' represents a significant development within the modern tradition of autobiographical epic. In broader terms, 'A locale of the cosmos' privileges the landscape and history of a region of Australia, the Wimmera region of north-western Victoria and, in doing so, explores the cumulative effects of the physical environment as a site for sustained poetic treatment. The poem is, therefore, an epic of both historical narrative and philosophical reflection, giving meaning to and interpreting ideas of space, place and locale. "Furthermore, it explores, in particular, the psychological and spiritual effects of vast horizontal distances, created by a landscape in which endless plains and immense horizons form an analogue of the wider cosmos. The poem's themes, therefore, bear not only on the prominences of the visible locale, but also explore the salients of an interior world, a landscape of the mind to which the poetry gives shape and meaning."Doctor of Philosophy
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Rieth, Homer Manfred. "A locale of the cosmos : an epic of the Wimmera : exegesis and text." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/15383.
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"This project has, for its central component, an epic poem, 'A locale of the cosmos'. The accompanying exegesis examines epic as an ancient, but continually evolving form. It argues that, as a contemporary example of the genre and, as a sustained poetic rumination on landscape and memory, 'A locale of the cosmos' represents a significant development within the modern tradition of autobiographical epic. In broader terms, 'A locale of the cosmos' privileges the landscape and history of a region of Australia, the Wimmera region of north-western Victoria and, in doing so, explores the cumulative effects of the physical environment as a site for sustained poetic treatment. The poem is, therefore, an epic of both historical narrative and philosophical reflection, giving meaning to and interpreting ideas of space, place and locale. "Furthermore, it explores, in particular, the psychological and spiritual effects of vast horizontal distances, created by a landscape in which endless plains and immense horizons form an analogue of the wider cosmos. The poem's themes, therefore, bear not only on the prominences of the visible locale, but also explore the salients of an interior world, a landscape of the mind to which the poetry gives shape and meaning."Doctor of Philosophy
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Perkins, Catherine. "The Shelf Life of Zora Cross." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15882.
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Zora Cross (1890–1964) is considered a minor literary figure, but 100 years ago she was one of Australia’s best-known authors. Her book of poetry Songs of Love and Life (1917) sold thousands of copies during the First World War and met with rapturous reviews. She was one of the few writers of her time to take on subjects like sex and childbirth, and is still recognised for her poem Elegy on an Australian Schoolboy (1921), written after her brother was killed in the war. Zora Cross wrote an early history of Australian literature in 1921 and profiled women authors for the Australian Woman’s Mirror in the late 1920s and early 1930s. She corresponded with prominent literary figures such as Ethel Turner, Mary Gilmore and Eleanor Dark and drew vitriol from Norman Lindsay. This thesis presents new ways of understanding Zora Cross beyond a purely literary assessment, and argues that she made a significant contribution to Australian juvenilia, publishing history, war history, and literary history.
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Dionysius, B. R. "Fatherlands /." [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18048.pdf.
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McLaren, Greg 1967. "Translations under the trees : Australian poets' integration of Buddhist ideas and images." Phd thesis, Department of English, 2005. http://hdl.handle.net/2123/6830.
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Cuadrado-Femandez, Antonio. "Making 'Sense' : Reading Textual Space in the Contemporary; Anglophone Poetry of 3 South African, Palestinian and Indigenous Australian Writers." Thesis, University of East Anglia, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520421.
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Brennan, Bernadette M. "The wounds of possibility : reading absence and silence in some contemporary Australian writing." Thesis, The University of Sydney, 2001. http://hdl.handle.net/2123/15855.
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Rowe, Noel. "The will of the poem religio-imaginative variations in the poetry of James McAuley, Francis Webb, and Vincent Buckley /." Connect to full text, 1988. http://hdl.handle.net/2123/404.
Full textAbstract:
Thesis (Ph. D.)--University of Sydney, 1989.Title from title screen (viewed Apr. 15, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Degree awarded 1989; thesis submitted 1988. Includes bibliography. Also available in print form.
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Schreyer, Lioba Gertrud [Verfasser], Burkhard [Gutachter] Niederhoff, and Uwe [Gutachter] Klawitter. "Coming to terms with Mabo in indigenous australian poetry / Lioba Gertrud Schreyer ; Gutachter: Burkhard Niederhoff, Uwe Klawitter ; Fakultät für Philologie." Bochum : Ruhr-Universität Bochum, 2021. http://nbn-resolving.de/urn:nbn:de:hbz:294-82214.
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Lowry, Karen Louise. "Metalepsis in Digital Poetry: Representing Australian Suburbia through the Convergence of the Verse Novel and Electronic Literature and Chamberlain Street." Thesis, Curtin University, 2016. http://hdl.handle.net/20.500.11937/53042.
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Using a practise-led research methodology, my creative work, “Chamberlain Street”, utilises the convergence of the verse novel and electronic literature to create a longer work of digital poetry focused on the events in a suburban street. The exegesis combines an in-depth analysis into existing representations of suburbia with an examination into metalepsis in the verse novel and works of electronic literature. This analysis is used to propose a new hybrid genre, the digital verse novel.
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Dicinoski, Michelle. "Electricity for beginners /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19806.pdf.
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Frost, Zenobia. ""According to our bond": The poetics of share house place attachment in Brisbane." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/134468/1/Zenobia_Frost_Thesis.pdf.
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This creative writing research project examines housing instability in Australia and its consequences on the way we connect to our dwellings. The project asks in what ways the lyric poem is uniquely suited to writing about the intersections of architecture and ephemeral place attachment that occur in shared rentals. I answer this question via a manuscript of lyric poems, After the Demolition, and accompanying exegetical essay. My practice embodies this argument by using the Queenslander-style house—itself uniquely suited to share housing—in inner-city Brisbane as a locus.
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Jackson, Janet Ruth. "A coat of ashes: A collection of poems, incorporating a metafictional narrative - and - Poetry, Daoism, physics and systems theory: a poetics: A set of critical essays." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2125.
Full textAbstract:
This thesis comprises a book-length creative work accompanied by a set of essays. It explores how poetry might bring together spiritual and scientific discourses, focusing primarily on philosophical Daoism (Taoism) and contemporary physics. Systems theory (the science of complex and self-organising systems) is a secondary focus of the creative work and is used metaphorically in theorising the writing process.
The creative work, “A coat of ashes”, is chiefly concerned with the nature of being. It asks, “What is?”, “What am I?” and, most urgently, “What matters?”. To engage with these questions, it opens a space in which voices expressing scientific and spiritual worldviews may be heard on equal terms. “A coat of ashes” contributes a substantial number of poems to the small corpus of Daoist-influenced poetry in English and adds to the larger corpus of poetry engaging with the sciences. The poems are offset by a metafictional narrative, “The Dream”, which may be read as an allegory of the writing journey and the struggle to combine discourses.
The four essays articulate the poetics of “A coat of ashes” by addressing its context, themes, influences, methodology and compositional processes. They contribute to both literary criticism and writing theory. Like the creative work, they focus on dialogues between rationalist or scientific discourses and subjective or spiritual ones.
The first essay, “An introduction”, discusses the thesis itself: its rationale, background, components, limitations and implications. The second, “Singing the quantum”, reviews scholarship discussing the influence of physics on poetry, then examines figurative representations of physics concepts in selected poems by Rebecca Elson, Cilla McQueen and
Frederick Seidel. These poems illustrate how contemporary poetry can interpret scientific
concepts in terms of subjective human concerns.
The third essay, “Let the song be bare”, discusses existing Daoist poetry criticism before considering Daoist influences in the poetry of Ursula K. Le Guin, Randolph Stow and Judith Wright. These non-Indigenous poets with a strong awareness of the sciences have, by adopting Daoist-inflected senses of the sacred, been able to articulate the tension engendered by their problematic relationships with colonised landscapes. Moreover, the changing aesthetic of Wright’s later poetry reflects a struggle between Daoist quietism and European lyric commentary.
The final essay, “Animating the ash”, reflects on the process of writing poetry, using examples from “A coat of ashes” to construct a theoretical synthesis based on Daoism, systems theory and contemporary poetics. It proposes a novel way to characterise the nature and emergence of the hard-to-define quality that makes a poem a poem. This essay also discusses some of the Daoist and scientific motifs that occur in the creative work.
As a whole, this project highlights the potential of both the sciences and the more ancient ways of knowing — when seen in each other’s light — to help us apprehend the world’s material and metaphysical nature and live harmoniously within it.
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Watkins, Catherine, and mikewood@deakin edu au. "Celebrating difference." Deakin University. School of Communication and Creative Arts, 2004. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.120943.
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This thesis examines short fiction and some poetry by writers from four different Australian cultural communities, the Indigenous community, and the Jewish, Chinese and Middle-Eastern communities. I have chosen to study the most recent short fiction available from a selection of writing which originates from each culture. In the chapters on Chinese-Australian and Middle-Eastern Australian fiction I have examined some poetry if it contributes to the subject matter under discussion. In this study I show how the short story form is used as a platform for these writers to express views on their own cultures and on their identity within Australian society. Through a close examination of texts this study reveals the strategies by which many of these narratives provide an imaginative literary challenge to Anglo-Celtic cultural dominance, a challenge which contributes to the political nature of this writing and the shifting nature of the short story genre. This study shows that by celebrating difference these narratives can act as a site of resistance and show a capacity to reflect and instigate cultural change. This thesis examines the process by which these narratives create a dialogue between cultures and address the problems inherent in diverse cultural communities living together.
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Smith, Yvonne Joy. "Brightness Under Our Shoes: the Redress of the Poetic Imagination in the Poetry and Prose of David Malouf, 1960-1982." University of Sydney, 2009. http://hdl.handle.net/2123/5139.
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Doctor of Philosophy(PhD)This study investigates the poetic foundation of David Malouf’s poetry and prose published from 1960 to 1982. Its purpose is to extend reading strategies so that the nature of his poetic and its formative influence are more fully appreciated. Its thesis is that Malouf explores and tests with increasing confidence and daring a poetic imagination that he believes must meet the demands of the times. Malouf’s work is placed in relation to Wallace Stevens’ belief that the poetic imagination should “push back against the pressure of reality”, a view discussed by Seamus Heaney in “The Redress of Poetry”. The surprise of the poetic as “unpredicted aesthetic value” (García-Berrio, 1989) is significant to his purposes and techniques, as it creates idea-images and feeling-values (Jung, 1921) that bring together apparently opposite ways of knowing the world. In seeking to represent the meeting of inner and outer perceptions, Malouf’s work shows the influence not only of Stevens but also Rilke and contemporary American poetry of “deep image”. The Australian context of Malouf’s work is considered in relation to Judith Wright’s essay “The Writer and the Crisis” and the poetry of Malouf’s contemporaries. Details of the manuscript development of his first four novels show Malouf’s steps towards a clearer representation of his holistic, post-romantic vision. His correspondence with the poet Judith Rodriguez provides useful insights into his purposes. Theories and research about brain functions, the nature of intelligence and learning provide an important international context in the 1960s and 1970s, given Malouf’s interest in how meaning forms from perception and experience. Jean Piaget’s view of intelligence and David Kolb’s theory of experiential learning (1984) offer frameworks for reading Malouf that have not yet been considered. The thesis offers a model of poetic learning that highlights the interplay of dialectically opposed ways of forming meaning and points to the importance for Malouf of holding diverse states of mind together through the poetic imaginary.
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Smith, Yvonne Joy. "Brightness Under Our Shoes: the Redress of the Poetic Imagination in the Poetry and Prose of David Malouf, 1960-1982." Thesis, The University of Sydney, 2008. http://hdl.handle.net/2123/5139.
Full textAbstract:
This study investigates the poetic foundation of David Malouf’s poetry and prose published from 1960 to 1982. Its purpose is to extend reading strategies so that the nature of his poetic and its formative influence are more fully appreciated. Its thesis is that Malouf explores and tests with increasing confidence and daring a poetic imagination that he believes must meet the demands of the times. Malouf’s work is placed in relation to Wallace Stevens’ belief that the poetic imagination should “push back against the pressure of reality”, a view discussed by Seamus Heaney in “The Redress of Poetry”. The surprise of the poetic as “unpredicted aesthetic value” (García-Berrio, 1989) is significant to his purposes and techniques, as it creates idea-images and feeling-values (Jung, 1921) that bring together apparently opposite ways of knowing the world. In seeking to represent the meeting of inner and outer perceptions, Malouf’s work shows the influence not only of Stevens but also Rilke and contemporary American poetry of “deep image”. The Australian context of Malouf’s work is considered in relation to Judith Wright’s essay “The Writer and the Crisis” and the poetry of Malouf’s contemporaries. Details of the manuscript development of his first four novels show Malouf’s steps towards a clearer representation of his holistic, post-romantic vision. His correspondence with the poet Judith Rodriguez provides useful insights into his purposes. Theories and research about brain functions, the nature of intelligence and learning provide an important international context in the 1960s and 1970s, given Malouf’s interest in how meaning forms from perception and experience. Jean Piaget’s view of intelligence and David Kolb’s theory of experiential learning (1984) offer frameworks for reading Malouf that have not yet been considered. The thesis offers a model of poetic learning that highlights the interplay of dialectically opposed ways of forming meaning and points to the importance for Malouf of holding diverse states of mind together through the poetic imaginary.
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Gibson, Donald. "Twentieth-century poetry and science : science in the poetry of Hugh MacDiarmid, Judith Wright, Edwin Morgan, and Miroslav Holub." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/8059.
Full textAbstract:
The aim of this thesis is to arrive at a characterisation of twentieth century poetry and science by means of a detailed study of the work of four poets who engaged extensively with science and whose writing lives spanned the greater part of the period. The study of science in the work of the four chosen poets, Hugh MacDiarmid (1892 – 1978), Judith Wright (1915 – 2000), Edwin Morgan (1920 – 2010), and Miroslav Holub (1923 – 1998), is preceded by a literature survey and an initial theoretical chapter. This initial part of the thesis outlines the interdisciplinary history of the academic subject of poetry and science, addressing, amongst other things, the challenges presented by the episodes known as the ‘two cultures' and the ‘science wars'. Seeking to offer a perspective on poetry and science more aligned to scientific materialism than is typical in the interdiscipline, a systemic challenge to Thomas Kuhn's The Structure of Scientific Revolutions (1962) is put forward in the first chapter. Additionally, the founding work of poetry and science, I. A. Richards's Science and Poetry (1926), is assessed both in the context in which it was written, and from a contemporary viewpoint; and, as one way to understand science in poetry, a theory of the creative misreading of science is developed, loosely based on Harold Bloom's The Anxiety of Influence (1973). The detailed study of science in poetry commences in Chapter II with Hugh MacDiarmid's late work in English, dating from his period on the Shetland Island of Whalsay (1933 – 1941). The thesis in this chapter is that this work can be seen as a radical integration of poetry and science; this concept is considered in a variety of ways including through a computational model, originally suggested by Robert Crawford. The Australian poet Judith Wright, the subject of Chapter III, is less well known to poetry and science, but a detailed engagement with physics can be identified, including her use of four-dimensional imagery, which has considerable support from background evidence. Biology in her poetry is also studied in the light of recent work by John Holmes. In Chapter IV, science in the poetry of Edwin Morgan is discussed in terms of its origin and development, from the perspective of the mythologised science in his science fiction poetry, and from the ‘hard' technological perspective of his computer poems. Morgan's work is cast in relief by readings which are against the grain of some but not all of his published comments. The thesis rounds on its theme of materialism with the fifth and final chapter which studies the work of Miroslav Holub, a poet and practising scientist in communist-era Prague. Holub's work, it is argued, represents a rare and important literary expression of scientific materialism. The focus on materialism in the thesis is not mechanistic, nor exclusive of the domain of the imagination; instead it frames the contrast between the original science and the transformed poetic version. The thesis is drawn together in a short conclusion.
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McArthur, Kathleen Maureen. "The heroic spirit in the literature of the Great War." Thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/23680.
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Tapper, Jess. "Watermana /." View thesis View thesis, 2000. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030501.154453/index.html.
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Stevens, Michael. "Australia in the vernacular: Poetic explorations." Thesis, Stevens, Michael (2020) Australia in the vernacular: Poetic explorations. Honours thesis, Murdoch University, 2020. https://researchrepository.murdoch.edu.au/id/eprint/61638/.
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As Australian society continues to evolve, so is the idea of a collective culture changing in ways that provoke a questioning of traditional values, tropes and symbols. This thesis will explore and analyse some of the changes in the ways poetic art might imagine what Australian identity and culture look like: through a creative component comprising a small collection of my own poetry and a dissertation that offers a reading of a small selection of poems by Australian poet Les Murray. The creative component will seek to capture glimpses of the ordinary aspects of contemporary Australian society, and to show how poetry has the potential to transcend exclusionary viewpoints in order to re-imagine Australian diversity. The dissertation will explore how Murray, who both interpreted and translated familiar images of Australian landscapes, nature, culture, and people, pieces together a mosaic written in the Australian vernacular—for him the key to understanding Australian identity. While Murray’s poetry has been criticised for its restrictive views of Australian culture, his harnessing of the vernacular offers the possibility for an expansive poetic rendering of national life in all its difference. Overall, the thesis aims to offer the reader an imaginative series of poetic and critical reflections on elements of Australia’s complexity as a changing nation.
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Brady, Robert J. "O where, o where is the ending? : an examination of black protest poets and poetry, with particular reference to the Black African Diaspora and Aboriginal Australia /." Title page and Contents only, 1998. http://web4.library.adelaide.edu.au/theses/09AR/09arb8125.pdf.
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Temperton, Barbara. "The Lighthouse keeper's wife, and other stories (novel) ; and Ceremony for ground : narrative, landscape, myth (dissertation)." University of Western Australia. English, Communication and Cultural Studies Discipline Group, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0005.
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The focus of this project is on poetry, narrative, landscape and myth, and the palimpsest and/or hybridisation created when these four areas overlay each other. Our local communities' engagement with myth-making activity provides a golden opportunity for contemporary poets to continue the practice long established by our forebears of utilising folklore and legendary material as sources for poetry. Keeping in mind the words of M. H. Abrams who said
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Moore, Dashiell. ""Our write-to-write": A Poetics of Encounter Across Aboriginal Australia and the Caribbean." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23760.
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Encounter narratives are often associated with the accounts of first contact between Europeans and the Indigenous inhabitants of New Worlds. However, they are also the means by which writers assert their self-determination from the coloniser. Notable examples can be found in the works of Martinique scholar Edouard Glissant, the late Barbados poet and scholar Edward Kamau Brathwaite, Yoogum and Kudjela poet Lionel Fogarty, and Yankunytjatjara poet Ali Cobby Eckermann. Each poet validates the encountered figure's right to refuse the reader's comprehension, a shared signature demonstrating their commitment to resist the self-Other tradition of Western metaphysics. This dissertation is the first scholarly effort to examine their works together and one of the first comparative studies of Aboriginal and Caribbean poetry; drawing out formal, conceptual, and historical affinities between these poets' projects. Aboriginal and Caribbean writings on the encounter are commonly framed by an overarching structural opposition between Caribbean rootlessness and Aboriginal rootedness. More provocatively, I suggest that a range of Aboriginal and Caribbean writers themselves affirm this structural opposition by portraying one another in obverse terms. In doing so, I resituate these poets in a host of new theoretical figurations that challenge the given cultural or political groupings with which their poetic extrapolations of the encounter are read, most notably the rootlessness of Caribbean literature and the rootedness of Aboriginal literature. Having shown that the rootless-rooted binary limits our understanding of the relational complexities of these poets' projects, I upend this opposition by reading from an inverted theoretical perspective: Brathwaite and Glissant as the forbears of an Indigenous literature, Fogarty and Eckermann as mobile writers in a planetary context.
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Saraswati, Anandashila. "Adumbral traces : poems on the naming of places in South Western Australia." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2008. https://ro.ecu.edu.au/theses/198.
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The poems in this collection are based on research into the naming of places in Western Australia. I began this project with the idea to study place names in the North and South of Western Australia; however the rich stories I found beneath the place names, and the time constraint of twelve months, has limited my field of research mainly to the metropolitan areas of Perth and Fremantle. In writing these poems I read extensively from historical accounts of the British occupation of Western Australia from 1829 and from recorded Noongar knowledge, combined with my own physical experience of place. These poems seek to open up a space in the narrative of the Swan River Colony, now known as Western Australia, in which to reconsider the origins of familiar place names, and their position in the current cultural discourse of nation. The exegesis The "Mountain is Named after the Man'" walks alongside the poetic work and engages with a more theoretical approach to the study of place names. The exegesis seeks to articulate the inherent inlbalance of power associated with place naming in the colonial context, and how in post-colonial societies, place names need to be critically examined and creatively engaged with in order to illuminate the political agendas embedded in geographical nomenclature.
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Taaffe, Benjamin James Stewart Douglas. "Douglas Stewart poet, editor, man of letters /." Connect to full text, 1995. http://hdl.handle.net/2123/5765.
Full textAbstract:
Thesis (Ph. D.)--University of Sydney, 1996.Title from title screen (viewed December 9, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Degree awarded 1996; thesis submitted 1995. Includes bibliographical references. Also available in print form.
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Furaih, Ameer Chasib. "Black Poetics, Black Politics: Poetry of the Civil Rights Movements in Australia and the United States, 1960s-1980s." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/385871.
Full textAbstract:
Aboriginal poets Oodgeroo Noonuccal (formerly Kath Walker; 1920–1993) and
Lionel Fogarty (1958–), and African American poets Amiri Baraka (formerly
LeRoi Jones; 1934–2004), and Sonia Sanchez (1934–) were prominent in the
struggles of their peoples during the Civil Rights movements of the 1960s and
beyond. Fogarty and Sanchez are still politically engaged. Their poetries display
common elements that enable a transcontinental comparative reading. This
project examines the works of these poets to demonstrate their role in the struggle
for civil and human rights of their peoples during this period. The project’s
confluence of poetics and politics is original because it aims to show how these
poets collaborated with other civil rights activists in voicing the demands of their
peoples, and how they used their poetry to reflect the realities they experienced
and to imagine new possibilities. This close, comparative analysis shows how
these poets developed a distinctive rhetoric of resistance that drew on the ideas
of Malcolm X, Frantz Fanon, and the language of the Universal Declaration of
Human Rights (UDHR). As such, it contributes to comparative studies of
Australian and American political history by demonstrating how these poets resist
cultural and linguistic hegemony and oppose literary universalism in representing
their peoples’ cultures and languages. This project also highlights how, through
poeticizing some of the milestone events in their histories, these poets revive their
peoples’ own history. Instead of tracing the general development of Aboriginal
and African American poetries during this period, I narrow the scope of my
research to the poetries of the selected poets. In preference to examining the
literary development of these poets via a timeline, which may render each chapter
in the form of a literary history, this qualitative study is grounded instead in a
comparative analysis of content which examines how these writers demonstrate
compositional and structural similarities and differences in their poetries, despite their responses to relatively distinct literary and political influences. This thesis
places the work of these poets in broader, international contexts, by drawing vivid
trans-Pacific connections between their poetries and politics. Black Poetics,
Black Politics: Poetry of the Civil Rights Movements in Australia and the United
States: 1960s-1980s aims to show the connection between African American
poets of the Black Arts movement and Aboriginal poets of the 1960s and 1970s.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Hum, Lang & Soc Sc
Arts, Education and Law
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Temperton, Barbara Temperton Barbara. "The Lighthouse keeper's wife, and other stories (novel) : and Ceremony for ground : narrative, landscape, myth (dissertation) /." Connect to this title, 2006. http://theses.library.uwa.edu.au/adt-WU2008.0005.
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Jamison, John Scott. "The tallest man in Australia : poems; and the poetic biography as a subgenre." Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.695376.
Full textAbstract:
The first section of this PhD submission is a creative thesis, the aim of which is to write an original poetry collection which belongs to the sub-genre of the poetic biography. The poetry collection, entitled The Tallest Man in Australia, details the capture and imprisonment of John Boyle O'Reilly, a 19th Century Fenian rebel who spent nine months in the penal colony of Western Australia before escaping to America. My critical thesis aims to validate the idea that in the past twenty years a new sub-genre of biography has emerged, one linked to the fictional biography yet quite distinct from it. Examples deal with the life of an historic individual but are written in poetic form. Analysis of this sub-genre, which will be referred to as 'the poetic biography', will focus on four key texts: David Constantine's Caspar Hauser (1994), Maurice Manning's A Companion for Owls (2004), Linda France's The Toast of the Kit-Cat Club (2005) and Ruth Padel's Darwin: A Life in Poems (2009). Each of the four texts has been chosen as an example of a slightly differing approach to the same form, providing enough similarity to be used as evidence for the poetic biography's existence as a separate entity from both poetry and biography, but with enough stylistic differences to show the potential of the sub-genre.
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Varipatis, Constantine J. "Theological reflection on Archbishop Stylianos' poetry : with special reference to marriage and the freedom of the human person." Thesis, The University of Sydney, 1992. https://hdl.handle.net/2123/26636.
Full textAbstract:
This study offers an image of and a journey through Archbishop Stylianos' poetry with special reference to the pastoral theme of marriage and the freedom of the human person.
A reflection on the poetry of Archbishop Stylianos Harkianaki s, who is ‘pastorally responsible for all Greek Orthodox Christians in Australia, helps us to 'unlearn and, then, re-say or relive pastoral theology in a more sensitive and creative manner. We are drawn into a tension between the beauty and truth of his poetry (see Paschos, P.V., W [in Greek], p.202). It is to the integrity of his person as geron, and to his work as poet, that I am deeply indebted and eternally grateful. I ask for his paternal blessings and prayers always. He has published a poetic work every year for the last fifteen years in Modern Greek. Every book, indeed, every poem is unique, and relevant to the contemporary person. Throughout his poetry he has as his basis an Orthodox Christia n perspective and experience.
His poetry is a major contribution to Orthodox theology and modern Greek poetry. As we consider his poetry and theology in the light of a pastoral theme we are carried into the field of pastoral care and psychology. We will consider briefly how intuitive theology connects to applied psychology in an organic dialogue which sometimes has a positive tension.