Relevant bibliographies by topics / Creative writing; Australian poetry / Dissertations / Theses

Dissertations / Theses on the topic 'Creative writing; Australian poetry'

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Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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1

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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2

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.

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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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3

Bonhomme, Desmond. "Creative Writing Thesis: Poetry." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/563.

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The title of this compilation of my own creative writings is Trees, Breathe, Paper. This unique collection of poetry, short stories and prose contains a range of work, composed from 2002-2012. The thematic goal of this undertaking is to ballast as many implicit and explicit meanings as are comprehensible, and to extrapolate a distinct spectrum of latent and straightforward explanations with discernible psycho-analytical accuracy. We all know poetry is truly formless and based on springs of natural inspiration. Thus, we derive our purest inspiration from the natural world and we prune it in its unfiltered, raw state. Poetry is an externality that materializes from thin air.
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4

King, Willow. "Yantra: A creative writing thesis (Original writing, Poetry, Creative fiction)." Diss., Connect to online resource, 2005. http://wwwlib.umi.com/cr/colorado/fullcit?p1425764.

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5

Nguyen, Alina. "Poetry as a Museum." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10262632.

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Poetry as a Museum is a two-part collection of poems that reveals different subject matter from the poet’s view of the world. The first part deals with family and the juxtapositions of life in the United States and Vietnam. The second part is focused on the poet, her voice, and lens outside of family. Both parts cohere as a collection around the idea of a poetry museum, one that curates the various stories, memories, experiences, and interests of family and poet, in Vietnam and the United States. Moreover, the poems rely on their strangeness in image as well as structure.

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6

Halliday, Simon D. "Intersections : a collection of poetry." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8087.

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7

Beckerling, Philippa Mary. "Wings into darkness & Poetry - An Essay." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/6938.

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8

Dymond, Danielle R. "Bitter Soil| Mapping Generational Female Experiences Through Poetry." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10751007.

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Bitter Soil: Mapping Generational Female Experiences Through Poetry is a collection of creative writing made up of a methodological essay and forty-three poems. This collection, produced during my time in California State University, Long Beach’s M.F.A. in Creative Writing program, explores both familial bonds and personal growth. The essay portion of this thesis uproots my family tree for closer inspection as I explain my subject matter, influences, and process, as well as the benefits and challenges of being a woman writer. The forty-three poems within my manuscript specifically focus on my grandmother, my mother, and myself, zeroing in on our experiences as women across three very different generations. These poems are broken into two parts: the first half is about the lives of my grandmother and my mother, and the second half is mostly about my own life, as well as the lives of several other women that have moved me. Essentially, the purpose of my thesis work is to communicate female stories, relationships, and power, using my own relatives as proof in a creative effort to honor the women that I know and inspire those that I do not.

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9

Reynolds, Kimberly Jo. "Grit Line." TopSCHOLAR®, 2010. http://digitalcommons.wku.edu/theses/1095.

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Graber, Margaret Ann. "These Hearts are Watermelon." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1389.

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This thesis examines the construction and deconstruction of home. These poems explore this theme largely through the poet's relation to geography and the natural world of the Great Lakes region, friends and family, experiences centered in human interconnectedness, traveling, the impact of technology, orientation in a cosmic space, the ways in which culture shapes and reshapes the one living inside it, and how in a 21st century world, one must still seek to show compassion for other living creatures. Through the utilization of metaphor, narrative, and imagination, this thesis journeys from the poet's home of Indiana to her ancestral roots of Ireland before returning to America with a more complex sense of identity as well as a renewed vision for the future.
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Bamburg, Mary. "Votary." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1425.

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12

Higgs, Richard. "Translation of poetry as homicide, with reference to Anna Akhmatova's 'Last toast'." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11071.

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The objective of this dissertation is to provide a critical examination of poetry translation, using as a framework the notion that translation of poetry is comparable to an act of murder or homicide. Constructs pertaining to detective fiction are used as a basis to expose critical theories and commentary on poetry translation, which validate the comparison, taking into account the integrity of the poetic text, the context in which it exists, and the identity (constructed or real) of the poet. Four published translations, by different authors, into English of Anna Akhmatova’s poem Posledniy tost (‘The Last Toast’) are analysed in detail to demonstrate the validity of the argument and to attempt to review and quantify the loss of a poem’s essential and vital qualities as a result of translation.
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Martinuik, Lorraine A. "The Language of Trees." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1651.

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The Language of Trees is a poetry collection based on a series of walks, and rooted in the experience of place on a small island off the west coast of Canada. Prose poems and a serial poem that gives the collection its title, reflect the poet's leanings towards experiment. The preface discusses poetics and the poet's technical approach to form.
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14

Hall-Zieger, Anna. "Astigmatism: poems exploring the misshapen I." Thesis, Texas A&M University, 2006. http://hdl.handle.net/1969.1/4155.

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This thesis is a book of poems, containing two major sections. The first part is a critical introduction to the creative writing; the second part consists of poetry that I have composed, revised, and revisited during the time I have spent working on my Masters degree. The poems comprise the larger section and is a cohesive collection bound by a progression of theme, style, and mode. In the critical introduction, I discuss many influences on my poetry and I explore how my poetry adheres to various modes and styles as well as how it differs from them. While I remain drawn to the confessional style, my work does not adhere enough to the strictures of that mode, and I find it rather stifling. However, instead of attempting to redefine the confessional/postconfessional mode, or arguing for one specific critical perspective, I attempt to propose different guidelines for my poetry, which seems to fall into a yet unnamed category, that I call the lyric memoir. I hope to suggest a method of reading that considers the confessional poem as representative of neither a completely constructed persona, nor a strictly autobiographical retelling of the poet’s life. The second section of the thesis consists of thirty-seven poems. Although, I do not subdivide the poetry into labeled chapters, I have organized it so that the reader can identify a movement or progression of theme. The early poems contain reflective pieces that most closely mirror the confessional and/or postconfessional modes, as I explore my psyche, my perceived reality, and my role in the world. The middle poems address relationships—both my relationships with others and how people interact. The later poetry reflects the world as a whole, although, as suggested by the title, all of the poems respond in some way to the title’s implication of analyzing identity and add to the cohesion of the collection as they represent a journey from the self outward
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Stumpo, Jeffrey David. "sylvae parvae: poems." Texas A&M University, 2004. http://hdl.handle.net/1969.1/1484.

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The following is a collection of original poetry, supplemented by a critical introduction tracing biographical, literary, and theoretical influences. The critical introduction takes the form of a series of loosely connected notes. The poems are divided into two major sections. I begin by discussing the difficulties involved in writing an overarching introduction to a collection which was never intended to be a cohesive whole, that is to say, a group of individual poems rather than a themed collection or sequence. I examine some of the influences on my work, including other poets and authors. These poets do not fall into strictly defined schools or chronological periods. Rather, I find that certain poets throughout history pay attention in greater or lesser detail to the spaces around words (potential meanings) and the system that is constructed in a given poem. I align myself, therefore, not with particular schools or eras, but with writing styles. I also discuss some of the theories that come into play in my work. Most often these resemble postmodernism, yet I tend to draw on metaphors from science or philosophy rather than literary theorists themselves, who are often needlessly obtuse. Lastly, I look at autobiographical influences that have shaped my writing. I complete my introduction with a detailed discussion of two poems and how these various elements are visible therein, and a few comments on the title of the thesis. The first section of poetry is titled "Lyrics & Observations." As can be gleaned from this title, the poetry is primarily lyric, though alternating between formal and informal in structure. Additionally, most of the lyric poems I write tend to make observations on life, leaving any moral unspoken or open-ended. The second section of poetry, on the other hand, is titled "Narratives & Lessons" and tends towards poetry with an overt message. These poems represent a selected output of the last year. Some of the poems may have begun their lives before I began my studies at Texas A&M University, but almost all have been revised since that point, reflecting my continuing growth and change as a writer.
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Briante, Susan. "Pioneers in the study of motion." FIU Digital Commons, 2000. http://digitalcommons.fiu.edu/etd/1807.

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From the multitudinous streets of Mexico City through the lonely highways of the United States, this collection of poetry charts strategies of representation across complex territories of culture and gender. These poems represent dialogues and negotiations with popular and poetic narratives of the Americas, as well as individual quests for identification against a backdrop of postmodern and postcolonial concerns. The effect is like that of a collage that elicits the reader's participation in order to produce individual signification. The figures alluded to in these pieces enact the struggle to situate the self within multiple registers of discourse and identity, as well as to establish a site from which to speak.
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Camacho, John. "Chords." FIU Digital Commons, 2005. http://digitalcommons.fiu.edu/etd/1984.

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CHORDS is a collection of diverse lyric and narrative poems. The book is primarily composed of free verse in the colloquial tradition of James Wright. CHORDS employs the Romantic device of a strong narrative "I," and utilizes four thematic sections, each named after a specific musical chord, which correspond to four periods in the narrator's life. Section one, "Suspended," follows the young narrator through a tumultuous childhood, underscored by family loss and the disruption of a move from Miami to rural Kentucky; section two, "Diminished," details his adolescence and young adulthood, a period of rebellion and confusion; section three, "Augmented," finds the adult narrator contemplating several life-changing events-marriage, the break-up of his rock and roll band, and the dedication of his life to Christ; finally, in "Resolved," the narrator comes to accept the complexities of his life, and to build, from its dissonant notes, a final chord of resolution.
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Bartman, Jennifer. "Apple." FIU Digital Commons, 2008. http://digitalcommons.fiu.edu/etd/1416.

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Apple is a collection of poems that explores the connection between human relationships and the evolution of an identity. Multiple speakers investigate gender and sexuality, plentitude and poverty, atheism and Christianity in order to better understand some of the forces that affect a woman's consciousness. An awareness of perceived dualities, such as self and other, reason and faith, nature and technology, socialization and loneliness are central to this exploration. The poems employ various forms, such as ultra-talk narratives, lyrical meditations, prose poetry, epistolary poems and hypertext. The variety of structure and form in the collection mirrors the variety of approaches the speakers employ to move closer and further away from the subjects at hand. The rhetorical posture employed in each poem is directly linked to the speaker's relationship with the audience, which is an excellent example of a human relationship affecting the evolution of an identity.
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Blanco, Ricardo De Jesus. "City of a hundred fires." FIU Digital Commons, 1997. http://digitalcommons.fiu.edu/etd/1693.

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These poems capture the "coming of age" experiences encountered by a Cuban-American narrator in the United States and in Cuba. The poems in the book appear chronologically, that is to say, not in the order they were written, but according to the age of the poet-speaker, ranging from early adolescence to young adulthood. The poems in Part I reveal the fragmented traditions and heritage inherited by a first generation Cuban-American, while questioning the complex merging of the two cultures encountered by the poet-speaker. In Part II, the majority of the poems are set in Cuba, as the poet-speaker travels through the living history of his "homeland" to explore the cultural roots discovered in its landscapes, traditions, relatives and towns, like Cienfuegos-"the city of a hundred fires". The style and language of the poetry become unique to the poet-speaker's own cultural vision, the Cuban-American experience transformed to lyric poetry.
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Carrion, Teresa. "Lazy tongue." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/2058.

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Lazy Tongue is a collection of poems that follows the path of a first generation Latin American woman on her trail of self-discovery. Both critique and celebration, the poems zero in on a woman's psychological, social, and sexual encounters, trying to find acceptance of self in the mirror of Catholic indoctrination and culture clash. The poems move through a variety of forms as if each poem were a word moving, searching, stumbling into eloquence, echoing the awkwardness the speaker feels as she moves through childhood into adolescence, and the awkwardness she feels positioning herself in adult life as a rebellious, punk rock women.
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Beer, Nicky. "The diminishing house." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/6024.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on October 16, 2007) Vita. Includes bibliographical references.
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Stewart, Jennifer. "Out of Chaos." ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/361.

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This is a collection of poetry on a variety of themes, namely, personal identity, travel, southern upbringing, and interaction with daily ennui. It also presents a range of different poetic techniques, from collage and pastiche to more traditional lyric formats.
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destiche, aurielle. "From the Same Branch." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1868.

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Szabo, Brittany R. "Grey Slate." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1151.

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GREY SLATE is a collection of poems that focuses on the natural world in order to explore the mysteries of life with the intent to create a meditation on what it means to be a human being interacting with this world. Inspired by John Keats’ theory of Negative Capability, GREY SLATE does not seek to explain, but to dwell in the mysteries it explores. The poems are tied together through similar images or ideas in order to mimic the way the mind works as it jumps from thought to thought. GREY SLATE also mixes different types of poems: from haiku to sonnet to paradelle, and from lyric to narrative to prose poem. GREY SLATE hopes to inspire readers to take a break from searching for truths and indulge in the beautiful mystery that is life with no need for answers.
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Evans, John William. "The Five-Dollar Shirt." FIU Digital Commons, 2007. http://digitalcommons.fiu.edu/etd/3216.

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THE FIVE-DOLLAR SHIRT is a collection of poems that explores the connection between the author's experiences working and living in South Asia, Chicago, and South Florida; the phenomenon of global capitalism; and the formative influences of place and culture, both while living in a foreign place and upon returning home. The collection is organized into three sections that loosely follow the chronology of the author's life: "Middle West," "Far East," and "Deep South." Each section includes longer free-verse narratives, shorter lyrical meditations on the associations of specific images, and formal work that incorporates both impulses while suggesting new possibilities that evolve from working within an inherited structure. The poems in this collection reject the ironic ambivalence of one strain of contemporary American poetry, in favor of ardent neoromantic engagement. THE FIVE-DOLLAR SHIRT is ultimately an effort to accommodate seemingly conflicting impulses into an ethical worldview: rootlessness and family, ambition and compassion, progress and conservation.
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Lockridge, Tim. "Survival Tips For A Parallel Universe." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/77492.

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Survival Tips For A Parallel Universe is a collection of poems concerned with sudden change, limitations, and the way those changes and limits might develop and burden intimate relationships. The collection’s central sequence, “Survival Tips For A Parallel Universe: Parts One, Two, Three, and Four,"? works through an imagined alternate world where the human and the mechanical suddenly and inexplicably merge, creating avenues of possibility that ultimately end in the unknowable, the unreachable, or failure. The surrounding poems further explore the nuance of the unknowable—through language both lyrical and plain-spoken—questioning reality and perception, specifically in their relation to memory, love, and desire. Likewise, the collection largely moves from a second person point-of-view to a first-person perspective, generating a shifting subject and a movement toward a tangible and more direct articulation of feeling and heart. While this collection draws a strong influence from the invention and tradition of the New York School of poetry, it also attempts a new way of speaking—and, in turn, a new way of knowing.
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Rousseau, Jacques. "Dispatches from an older war." Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/17457.

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Gaffney, Michaelle Brett. "Now is the Time to be Ghosts." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1349.

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Schoenfeld, Staci Renee. "The Blue Notebook." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1351.

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Tokarz, Beverly Joan. "Landscape beyond Corot and other poems." Thesis, Boston University, 1991. https://hdl.handle.net/2144/35679.

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Lacy, Larissa. "A Pocketful of Secrets." Chapman University Digital Commons, 2020. https://digitalcommons.chapman.edu/creative_writing_theses/16.

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Hallsworth, Craig Anthony. "myfriendkoolkiller ; and, A discussion." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2009. https://ro.ecu.edu.au/theses/1879.

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This thesis consists of two parts: the creative work titled ‘myfriendkoolkiller’, and an accompanying text titled ‘A Discussion’. ‘myfriendkoolkiller’ grew out of a long series of spontaneous gestures and improvisations in writing, as well as various invented and consciously introduced rules, strategies and constraints. My intention was to follow the work through, beyond any overarching ideas or transcendent guiding principles, as a line of variation. I was interested in the chaotic, sometimes macabre and occasionally humourous, effects generated out of the constant struggle in the work between that which seems capable of acting and that which cannot help but be acted upon. I was concerned with the appearance of the work, with how the sculptural or graphic qualities of language on a page may affect the act of reading itself, sometimes forcing attention into more immediate states of looking, watching and noticing. Rather than express a sense of accomplishment, achievement or even performance, I was hoping that the work would take on a life of its own in emerging moments that neither overcome nor retreat from a sense of unpreparedness, uncertainty and vulnerability. As I seem incapable of considering myself to be a poet or my work to be poetry, in ‘A Discussion’ I set about the task of finding other ways to look at and to think about the creative processes that gave rise to the experimental work. This second part of the thesis draws heavily on terms and concepts from the oeuvre of French philosophers Gilles Deleuze and Félix Guattari. I endeavor to find things to say here that will at least contribute to a sense of flux and possibility around the creative work. I discuss the work in terms of an autopoetic force of emergence and expression that, beyond an ordered and meaningful everyday human world, presupposes life itself as a plane of composition and a power beyond any lived experience. I look at various aesthetic and micropolitical aspects and implications of the creative work, employing concepts such as the minor, immanence, desire, becoming, deterritorialization, machine of expression, and others. While it is clearly Deleuzian, I conclude ‘A Discussion’ outlining my sense of an ethics of creativity.
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Williams, Evan. "The Leaving Symphony| Musicality and Voice in the Poetry of Trauma, Addiction, and Redemption." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10785346.

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The Leaving Symphony: Musicality and Voice in the Poetry of Trauma, Addiction, and Redemption represents two years of my critical and creative writing while attending the California State University, Long Beach M.F.A. in Creative Writing program. Evident in the poems of this manuscript, my major themes include trauma, addiction, and personal redemption, all through the intimate lens of my family and myself. Crucial to my writing is the evolution of those struggles, seen in the organization of the poems in this thesis. The methodological essay at the beginning of this project details my process and influences, followed by a full-length collection of poetry. My poetry is highly musical thanks to the inspiration of both my musician father and several writers, such as Sylvia Plath and Dean Young; my work also possesses a distinctive voice that took me decades to find, especially as a poet. This thesis documents that growth and eventual catharsis in writing.

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Harmon, Thaddeus. "Sky Lifting His Skirts." Digital Commons @ Butler University, 2015. http://digitalcommons.butler.edu/grtheses/415.

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Chitwood, Chazz R. "North Atlantic Black." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3678.

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North Atlantic Black is a collection of contemplative, lyrical poems that explore issues of coming out, suicide, yearning, and male relationships. Woven together, North Atlantic Black moves through different questions of masculinity encountered by the poet through the process of coming out. Early poems explore themes of masks, of theater, and of dressing and costume as means of escaping the traditional bounds of masculinity North Atlantic Black further braids in concepts of home, how they relate to identity through heritage and expectation, and how they inform the poet’s thoughts on what it means for men to have relationships—how ideas of masculinity have imposed on the poet’s life, and weigh on the relationships he wishes to pursue. Throughout, the moody colors of the Maritimes and the North East, of sealing ports and cold, forested mountains, loom over these confessions and contemplations.
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Burgess, Lauren. "No Money in It." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/honors_theses/83.

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This project consists of nineteen poems produced during my undergraduate career at the University of New Orleans. Issues concerning the female body; science (particularly astronomy and evolutionary theory); and theories about the creative process, capitalism, and relationships characterize the themes of this manuscript. Some poems are clearly part of the same narrative, while others are composed in various modes: epistle, address, self-definition, elegy, and lyric. This thesis includes prose and emblematic forms; there are poems styled after other poets and one composed entirely of “found” sentences. The poems consider what it means to be a young poet in 2017—a time when the artist must constantly argue for the importance of art and herself in an increasingly tense political and socioeconomic environment. I plan to submit these poems to literary journals.
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Christiansen, Paul. "Blotto in the Lifeboat." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1932.

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Blotto in the Lifeboat is a book of poems that investigates natural processes and idiosyncrasies of human societies. Ranging from the absurd to the scientific in tone, the poems in Blotto in the Lifeboat situate themselves on the blurry-line between fact and imagination, employing a style that Thomas Lux describes as “imaginative realism.” The middle of three sections is comprised solely of the long poem, “A Compendium of the True and Wondrous,” which collages remarkable facts and anecdotes to highlight the strange realities of the world and the rapidity of change. The first and third sections contain shorter, narrative poems in which the surreal or comic is often employed. The language of the poems in BLOTTO IN THE LIFEBOAT reflects a similar desire to affix the fantastic to the familiar. Metaphors in the tradition of Elizabeth Bishop and Charles Simic rely on wild leaps of imagination to illuminate the real world.
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Chambless, Cathleen F. "Nec(Romantic)." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1933.

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NEC(ROMANTIC) is a poetry collection thematically linked through images of insects, celestial bodies, bones, and other elements of the supernatural. These images are indicative of spells, but the parenthesis around romantic in the collection’s title also implies idealism. The poems explore the author’s experiences with death, grief, love, oppression, and addiction. NEC(ROMANTIC) employs the use of traditional forms such as the villanelle, sestina, and haiku to organize these experiences. Prose poetry and a peca kucha ground the center of NEC(ROMANTIC) which alternates between lyrical and narrative gestures. NEC(ROMANTIC) is influenced by Sylvia Plath. The author uses Plath’s methods of compression, sound, and rhythm to create a swift, child-like tone when examining emotionally laden topics. Ilya Kaminsky influences lyrical elements of the poems, including surrealism. Spencer Reese’s combination of the natural and personal world is also paramount to this book. Adrienne Rich and Audre Lorde influence NEC(ROMANTIC)’s political poetry.
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Murphy, Sally. "Belonging: a place for, and in, children’s poetry A hybrid thesis including creative works, articles and exegetical discussion." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/1999.

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This hybrid thesis is comprised of three creative works – two collections of poetry for children and a verse novel – as well as three journal articles examining aspects of children’s poetry, and exegetical discussion of the creative works and of key concepts influencing both the creative and discursive elements of the thesis. The first creative work, All About Me, is a collection of poetry for early childhood readers and their carers. It consists of 20 poems, and as a finished manuscript mirrors the length of a picture book format collection. The poems explore and highlight aspects of the concept of belonging as it applies to very young children, including self-awareness and awareness of the world and people around them. The second creative work, You and Me, is a collection of poetry for middle primary school aged readers (approximately 8 to 10 years of age). It consists of 68 poems, and as a finished manuscript is the length of a 72-page trade paperback publication. The poems explore and highlight aspects of the concept of belonging as it applies to primary school aged children, including their self-identity, and their part in the groups to which they belong, as well as their place in the wider world. The third creative work, Worse Things, is a multi-voice verse novel suitable for readers in the upper primary and early secondary years, aged approximately 10 to 14 years old. In this novel, three protagonists struggle to determine where they belong at school, on the sporting field, and within their very different family situations. Blake, a young footballer, is injured and unable to play his beloved sport. Jolene, a star hockey player, has lost interest in her sport as she struggles to meet the demands of her ambitious mother and misses her absentee father. Amed, a newly arrived immigrant, is unable to play soccer, the sport he loves, because of a language barrier. The three creative works are interspersed with three journal articles. With poetry being widely seen as an important part of the children’s literature landscape, yet not well represented through publishing output, these articles, which are aimed at educators and children’s literature researchers, consider where poetry belongs. The first article, The Purple Cow, focusses on why poetry is important for children, and the role that pleasure plays in engaging children with the benefits poetry has to offer. The second article, Belonging: Australian Identity in Children’s Poetry explores why the theme of belonging is prevalent in children’s poetry and examines differing representations of belonging in recent Australian poetry, focussing on the portrayal of family in Lorraine Marwood and Steven Herrick’s collections and verse novels, as well as a verse novel by Sally Morgan. The third and final article, Prose Versus Verse, offers an insight into the creative choice to write in the verse novel form, and examines the value of verse novels both as a classroom tool and for private reading, with a comparison of verse and prose novels from Steven Herrick and Sheryl Clark. The exegetical discussion of my creative works, contained in the final chapter, brings the theme of belonging to the fore, exploring the creative decision-making employed in composing this thesis. By examining the poems through a lens provided by Allison Halliday, I discuss my own construction of the concept of childhood, as seen in the poems, exploring how both the subjects explored, and the poetic forms and devices used, demonstrate my belief that childhood is a time of increasing awareness of self, and of awareness of being both part of things and apart from things. While children may enjoy simple, playful topics, they also have the sophistication to explore and understand global issues and to deal with demanding topics. The exegesis goes on to explore my growing awareness that it is not possible, nor even desirable, to attempt to explore every aspect or version of belonging, given that, like every other writer, I am constrained by my own experiences and knowledge. Finally, the exegesis looks at where children’s poetry belongs in contemporary Australia. As a whole, the thesis demonstrates that poetry belongs in the hands of Australian children, providing a way to entertain and educate, as well as offering them an opportunity to explore the important theme of belonging. For, if children are able to find their own versions of belonging reflected in pleasurable ways, and given insight into many other versions of belonging, then they will engage not just with poetry, but with the world around them.
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Colvett, Margaret G. "The World by Memory and Conjecture." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/190.

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The World by Memory and Conjecture collects thirty poems written and refined over the course of two and a half years. An analytical essay discussing the reading and writing of poetry as a medium, with reference to ancient and contemporary poets, is included.
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Barrett, Maidel H. "Firefly curios and sundry lights." FIU Digital Commons, 1997. http://digitalcommons.fiu.edu/etd/1411.

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Firefly Curios and Sundry Lights contains 33 poems and 55 pages, mostly free verse lyric narratives issuing from various geographic, emotional, and temporal landscapes. The book is divided into four sections which might roughly be titled: "before," examining themes of childhood and death: "on-the-road," relaying the compulsion to travel, "odd-and- ends-limbo," including pieces which have no context within the time line; and "in-one- place-for-now," reflecting modes of communication, ordering, and longing. Other concerns include speculations about existence, observations of nature, and the importance of science as a means of apprehending the world. The work reveals a belief in the interconnectedness of mind and matter, combines seriousness and humor, and displays a sonic sensibility. These poems of solitude and observation are themselves vehicles, their motion a means of dislocation in order to find the self. Firefly Curios and Sundry Lights is smaller than a bread box and you can dance to it.
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Birch, Mona. "Once a Catholic : a novel in stories and poems." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/1682.

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"Once A Catholic" is a novel about the indelible effects of growing up Catholic. The novel is told in a series of stories and poems. The first story, "Credo," offers an overview of the rich culture of Catholicism that binds the Daley family together. "Before The Fall" recalls the safety and warmth of that Catholic faith. Subsequent stories focus on individual family members and events, and the Catholicity that lies at their core. "Holy Orders" tells the story the firstborn male child whose destination is the priesthood. "Finding Ecstasy" is a daughter's story of rebellion through sexual exploration. "Sweet Reconciliation" is the story of a search within oneself for forgiveness, the cornerstone of Catholic upbringing. "Acts of the Apostle" demonstrates the hopelessness of a faith under attack. The final story, "Holy Relics," demonstrates the never-ending desire for redemption and the important act of returning sacredness to its rightful place.
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Conrad, Joan Andrée. "Archaeology; or, the school of resentment." FIU Digital Commons, 2002. http://digitalcommons.fiu.edu/etd/2426.

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ARCHAEOLOGY; OR, THE SCHOOL OF RESENTMENT is a novel in verse and other genres that, on the one hand, follows the progress of Nancy Drew as a new votary of Dionysos who has too long been on a detour in the Apollinian realm, and, on the other, records the excavation of psychological sites by Nancy’s Africanist alter ego, Sarah Fumeaux, archaeologist and historian of humanity. The trajectories of the two female protagonists are chronicled in the tradition of the feminist long poem. The work explores postlapsarian ways in which race and gender disturb life. Nancy’s quest as Dionysiac votary drags the archaeologist into peril in a process that finally decolonizes the archaeologist’s soul and restores balance to Nancy’s sidetracked self. As plot, the work reconsiders the Modernist and apparently politically incorrect feminism of Virginia Woolf as expressed in Three Guineas. As aesthetic object, the poem weaves through a collage of shadows of imperial dismantling cast by the work of Anna Akhmatova, Anne Carson, Nick Carbo, Colette, H.D., Denise Duhamel, Sergei Eisenstein, Robert Hass, Audre Lorde, Campbell McGrath, Frank O’Hara, Sylvia Plath, Gertrude Stein, Stephanie Strickland, Eleanor Wilner, and others. Laying bare the detritus of patriarchal convention that began with the Ur- metaphor of Aristotle, ARCHAEOLOGY; OR, THE SCHOOL OF RESENTMENT represents one poet’s exploration of the relationship of excavation to literature, of landscape and silence to history, of text to body, of metaphor to news.
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Goldstein, Lauren Rachel. "Numerator Denominator." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/77495.

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A collection of poems exploring the relationship between self, interpretation of memory, and the dynamic structure of families, nuclear and not. The notion of family as a wider concept, a unit that can be heartily constructed, maintained, and destructed beyond the ties of blood relations, is a focus of numerous poems in the collection. The title poem, “Numerator Denominator,"? evokes, through associative leaps in language, the implicit shifts of emotion that surround personal relationships—the countless divisions and facets of oneself exposed. The structures of the poems in the collection range from free verse to a nonce sonnet sequence to the repetitive drive of the sestina. The poems are not divided into sections, but are arranged in such a way that connects the themes and flow of the work while still allowing the reader to explore her/his own connections throughout the collection.
Master of Fine Arts
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Abram-Diroll, Evaline E. "Monkey's Nest." Youngstown State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1314734197.

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Zapoluch, Katie. "Love and Failure in the Flyover States." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/580.

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Olson, Ted. "Book Review of The Oxford Book of American Poetry: The Difficulty of Anthologizing American Poetry." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1142.

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48

Little, Hunter C. "When Sidestreets Become Snakes." TopSCHOLAR®, 2019. https://digitalcommons.wku.edu/theses/3148.

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When Sidestreets Become Snakes is a collection of free verse poetry in which the speaker explores her family relationships and traumas through the use of various metaphors, personas, and imagery to illustrate significant moments in her life. Split into three sections, this collection follows the speaker through her childhood traumas and experiences, adolescent questioning of those experiences and relationships, and finally, her life as an adult in which she comes to accept the past, her family, and herself.
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Kenick, Erica N. "Asterisms." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1935.

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ASTERISMS is a collection of lyric poetry that seeks to express a sense of awe for the natural world by exploring themes of science, art, and the self. By combining physics and metaphysics, scientific terminology and musings on love, ASTERISMS argues that these seemingly-disparate fields of knowledge can harmonize in unexpected ways. In its style, the collection draws from the works of Dorianne Laux, Pablo Neruda, and Annie Dillard. Most of the poems are written in free-version and are tied together by images of astronomy and wilderness, both modern and prehistoric. Poems about classical music appear as interludes meant to complement others concerned with science and technology, as music too has its own invented language. Like asterisms - ancient inventions meant to personalize the expansive mystery of the night sky - this collection seeks to admire, if not completely understand, our place in the natural world and cosmos beyond.
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Askew, Claire Louise. "The axe of the house (Section A) ; 'Entangled in biographical circumstances' (Section B)." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9449.

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The axe of the house is a collection of poetry written and collated over three and a half years. The vast majority of the poems are about women: these are women’s voices usually recounting specifically female experiences. Many of these female poems were informed by the confessional mode, as appropriated and transmuted by the contemporary women writers I read and studied. The collection begins with confessions of my own in poems like “Anne Askew’s ashes” and “Jean,” and then moves on to include love poems like “Prayer” and “Gulls,” which are also at least partially autobiographical. Also confessional, but not autobiographical, are the poems at the centre of this collection. These are poems in which women from various different walks of life speak about their inner lives. Some of these women, like the speakers of “Hate mail” and “Silver Ghost,” are my own creation, while others, like “Mrs Rochester,” are borrowed from elsewhere. These poems examine intimate relationships from various angles: marriages, one night stands and vicious rivalries are all explored via a first person narrative. Body image is also a common theme. There are a few poems which are more overtly political, delivering feminist messages about the ways patriarchal society portrays and often ostracises women. “Harpies,” for example, looks at women who are seen to have no sexual worth, while “The picture in your mind when you speak of whores” concerns women whose only perceived worth is sexual, dismissing the various marginalising stereotypes that exist around sex workers. The collection moves farthest away from its examination of the female experience in the poems towards the end. However, these poems form a travelogue in which privilege of various kinds is examined and critiqued. Poems like “Witch” and “Belongings” are still concerned with the lives of women, while “Big heat” uses a female narrator to examine the more recognised privileges of wealth and mobility. These ideas recur in poems like “Barcelona diptych” and “Highway: Skagit County, WA,” but the poems that round off the collection are also attempts to capture a sense of place and space. Throughout this work, there are poems that are particularly interested in liminal space: several of the poems in the collection, including “Poltergeistrix” and “The women” look at the hours and days immediately after death. The space between travel destinations is also liminal, and these final poems attempt to make sense of it – finally succeeding with “Hydra,” which delivers a sense of acceptance and advocates living ‘in the moment’. The critical section, “Entangled in biographical circumstances,” looks afresh at the female confessional poem, most commonly associated with Sylvia Plath, Anne Sexton and Adrienne Rich. With reference to the works of these literary foremothers, I focus on the ways in which a new generation of women poets has been inspired to adopt this mode. As well as noting the often hostile response of male critics to confessional work by female writers, I examine the very different ways in which Sharon Olds, Sapphire and Liz Lochhead work in the confessional tradition to produce poetry that speaks candidly about the inner lives of women. I also discuss the ways in which the work of these three poets has influenced and shaped my own poetry.
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