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Chakraborty, Avijit. "Larkin Lost, Larkin Found: Towards a New Poetics of Reading." Thesis, University of North Bengal, 2019. http://ir.nbu.ac.in/handle/123456789/2851.
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Al-Hajaj, Jinan Fedhil Breyo. "Intellectuality, rationality, and awareness in the poetry of the mind : an exploration of Philip Larkin's poetry." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11879/.
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This thesis bases its argument on the notion that Philip Larkin’s poetry addresses intellectual and philosophical issues in a way that reflects a profound engagement of the poet’s mind with the world around him. His poetry is often described as direct, transparent, and lucid, but it also harbours esoteric areas and obscurities of thought. The thesis argues that Larkin’s work is preoccupied with fathoming out mental and psychological profundities, and that it tends to philosophise and theorise its own intellectual procedures as it handles and sifts the seemingly everyday commonalities. The poems do not confine themselves to the literality and immediacy of a particular theme, but strive to capture unanticipated contours of thought and contemplation. Larkin’s poetry invokes and triggers a pursuit of underlying perception, enlightenment, and knowledge, and aspires to go beyond that to achieve a sense of wonder and discovery. Hence, a Larkin poem cannot be read linearly without sacrificing what stirs deep in the chosen vocabulary and in the rhetorical and syntactical twists and contortions through which the poems attain their intellectual and meditative impact. Logic and rationality are sometimes enlisted to aid the intellectual quests that Larkin’s poetical personae find themselves engaged in. Imagination, dream, and speculation prevail throughout poems in which the poet seeks to develop an awareness of and understanding of our existential predicament. The study traces the various elements and aspects of this involvement in thought and introspection in Larkin’s poetry from the very early juvenilia through his first published collection The North Ship (1945), all the way across his mature collections, The Less Deceived (1955), The Whitsun Weddings (1965), and High Windows (1974), to his later and posthumous poems. Each of the above collections is researched in depth across six chapters. The thesis includes an introduction in which the notion of the poetry of the mind is profiled, and the ways it applies to Larkin’s poetry are delineated. It concludes with a coda which reflects upon the main findings of the study.
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Hibbett, Ryan. "Proving poetry : Ted Hughes and Philip Larkin, now /." Available to subscribers only, 2006. http://proquest.umi.com/pqdweb?did=1212794171&sid=6&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Thomson, Winifred Alice. "The collected poetry of Philip Larkin, 1945-1974." Thesis, University of Cape Town, 1986. http://hdl.handle.net/11427/22605.
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Lazic, Boris. ""With Meaning and Meaning's Rebuttal" : A Contrastive Reading of Philip Larkin's The Less Deceived." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-31058.
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This essay focuses on Philip Larkin’s The Less Deceived, a collection of poems published in 1955, and tries to demonstrate how the poems within it can be organized and understood according to a contrast between more and less deceived. Through close reading and comparative analysis this overarching contrast is shown to be expressed by recurrences of imagery and thematic material as well as by a series of related opposing terms which inform many of the viewpoints expressed within the collection. These oppositions include those between illusion and disillusion, distance and proximity, surface and depth, artifice and reality as well as innocence and guilt. The essay also concludes that the overarching categories of greater and lesser deception are expressed to varying degrees by the different poems and that neither category can thus be considered as favoured above the other.
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Balbi, Alita Fonseca. "'"The less deceived": subjectivity, gender, sex and love in Sylvia Plath's and Philip Larkin's poetry." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/ECAP-8SBLZ9.
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In this thesis, I make a comparative reading of Philip Larkin's and Sylvia Plath's poetry. The focus of the reading is on how their works discuss subjectivity and interpersonal relations. The analysis takes into consideration three main concepts: subjectivity, gender and love. First I establish a definition of the term subjectivity for the purposes of this analysis, and then compare and contrast the ways in which Larkin's and Plath's poems depict it. I also explore how gender roles are conveyed in their poetry as preconceptions imposed on people, and how these impositions affect in negative ways the relationships between women and men. The third concept, love, is discussed in light of the possibility of the subject to establish more profound emotional connections with the outer world and with others. Such emotional connections are often portrayed as inspiring the speakers poetic sensibility because they allow them to perceive the world in more subjective terms. I argue that both Larkin's and Plath's poetry depict speakers with conflicting views on subjectivity: at the same time they are aware of the constructed nature of social roles, they also believe in a romantic inner self. Even though their works portray social norms and gender roles as deceiving, their speakers still long for more positive deceptions such as friendship and love. For this reason, their speakers are named in this thesis the less deceived, a reference to one of Larkin's poems. In the poems analyzed, being the less deceived has an ambiguous meaning, conveying both positive and negative aspects. While it reflects the speakers awareness of the manipulative paradigms that underlie social interactions, it also shows a feeling of deprivation because of the discredit that falls upon transcendental matters such as religious faith and love, both of which are deceits that the poetic voices long for. Being the less deceived also refers to the fact that knowing the manipulative character of social norms does not mean they are free from it. Instead, the majority of the speakers in Larkins and in Plaths poetry still find themselves entrapped in meaningless social rites and are incapable of changing the society which they try to be, and at the same time avoid being, a part of.Nessa dissertação, faço uma leitura comparativa das poesias de Philip Larkin e de Sylvia Plath. O foco da leitura é a maneira como suas obras poéticas retratam a subjetividade e as relações interpessoais. A análise leva em consideração três principais conceitos: subjetividade, gênero e amor. Primeiro, estabeleço uma definição do termo subjetividade para o propósito dessa análise, e então comparo e contrasto as maneiras nas quais os poemas de Plath e de Larkin o retratam. Também discuto como os papéis de gênero são vistos nos poemas como (pre)conceitos impostos, e como esses afetam de maneira negativa as relações entre homens e mulheres. O terceiro conceito, amor, é visto como a possibilidade de o sujeito estabelecer ligações emocionais mais profundas com o mundo e as outras pessoas. Tais ligações são freqüentemente retratadas nos poemas como algo que aflora a sensibilidade poética dos sujeitos, já que elas os permitem enxergar o mundo de uma maneira mais subjetiva. Meu principal argumento é que as vozes poéticas nos trabalhos de Plath e de Larkin apresentam visões conflitantes a respeito do conceito de subjetividade: ao mesmo tempo em que elas estão cientes da construção de papéis sociais, elas também acreditam em um eu interior romântico. Embora suas poesias retratem conceitos como normas sociais e papéis de gênero como ilusórios, suas vozes poéticas ainda desejam certas ilusões como a amizade e o amor. Por essa razão, as vozes poéticas dos poemas de Plath e de Larkin são aqui chamadas de menos enganadas, uma referência a um dos poemas de Larkin. Ser o/a menos enganado/a tem um significado ambíguo nesse contexto, refletindo aspectos negativos e positivos. Ao mesmo tempo em que mostra a consciência que as vozes poéticas têm dos paradigmas manipuladores que permeiam as interações sociais, o termo também se refere ao sentimento de privação causado pelo descrédito em questões transcendentais como a fé religiosa e o amor, ambas as quais são ilusões pelas quais essas vozes poéticas anseiam. Ser o menos enganado também se refere ao fato de que saber do caráter manipulador das normas sociais não quer dizer estar livre delas. Pelo contrário, as vozes poéticas nas poesias de Plath e de Larkin ainda se encontram presas em vãos costumes sociais e incapazes de v mudar a sociedade da qual elas tentam, e ao mesmo tempo evitam, ser parte.
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Cooper, Stephen Andrew. "Revolt and orthodoxy in the work of Philip Larkin." Thesis, Open University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251388.
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Hassan, Salem Kadhem. "Time, tense and structure in contemporary English poetry : Larkin and the Movement." Thesis, University of Glasgow, 1985. http://theses.gla.ac.uk/3902/.
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Osterwalder, Hans. "British poetry between the movement and modernism : Anthony Thwaite and Philip Larkin /." Heidelberg : C. Winter, 1991. http://catalogue.bnf.fr/ark:/12148/cb35744530c.
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Davies, Alexandra Mary. "Poetry in process: the compositional practices of D.H. Lawrence, Dylan Thomas and Philip Larkin." Thesis, University of Hull, 2008. http://hydra.hull.ac.uk/resources/hull:1738.
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Philip Larkin used the image of Winston Smith's blank notebook in George Orwell's 1984 to illustrate the excitement experienced by the writer faced with an as yet unwritten text. He explains that: the books the past has given usare printed; they are magnificent, but they are finite. Only the blank book, the manuscript book, may be the book we shall give the future. Its potentialities are endless. This study of 'poetry in process' will compare the 'compositional practices' of three twentieth century poets in order to come closer to understanding the means by which poems are written. One conclusion which is perhaps inevitable from such a comparative study as this is that there is not a single approach to writing a poem. Each poet has idiosyncratic habits.
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Malec, Jennifer. "A 'long defence against the non-existent' : Englishness in the poetry of Phillip Larkin." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/11599.
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Includes bibliographical references (leaves 96-97).Larkin's place in the genealogy of English poetry is significant since, unlike many of his predecessors, his work lacks the hope or possibility of redemption offered by faith. Larkin countered the void created by his agnosticism by appealing to the power both of ritual and of the English landscape, and yet ultimately these attempts - although not wholly unsuccessful poetically - appear fruitless philosophically. Larkin's awareness of English society is not explicit, and yet his preoccupation with death and nothingness is inexorably linked to the political despair and religious questioning of post-war England. Through the use of the many' Englishes' of his time Larkin manages to construct a passable means by which to fill the lacuna left by godlessness. A thorough review of the critical opinion of Larkin is undertaken here, in order to sketch out the landscape of English letters and Larkin's place within, or in relation to, English poetry. His interrogation of the dominant societal structures is rigorous, and while his habit of constantly contradicting himself and his insistent ambiguity may seem to undermine his efforts, on closer inspection this lack of clarity complements his aims precisely. This dissertation will demonstrate how Larkin's use of cliche epitomises this struggle, and that in his poetry the often-assumed emptiness of such language is turned on its head. Larkin, it will be argued, deploys common English expressions as a modem substitute for the social links provided to earlier poets by means of reference to classical mythology.
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Chatfield, Thomas Edward Francis. "Beyond realism and postmordernism : towards a post-Christian morality in the works of Philip Larkin, Kingsley Amis and Martin Amis." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:1db4198a-56e4-417d-b5e5-eb6586a6d7d6.
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This thesis evaluates and re-evaluates the relationship between the works of Philip Larkin, Kingsley Amis and Martin Amis through a detailed examination of their published works, and attempts to locate this relationship in the context of the central moral uncertainties of post-1945 British fiction. Most previous critical studies of these authors have tended to discuss the relationship between Kingsley Amis and Martin Amis in terms of an opposition between the father's realism and the son's postmodernism, and have debated Philip Larkin's influence upon Martin Amis only tangentially. Against this trend, this thesis argues that these three authors share a commitment to literature as a public, moral act, and, in particular, that their works share the intention of articulating a number of closely related secular 'human values' which map out a potential post-Christian morality in British society. The thesis also examines a common tension within their oeuvres inimical to such hopes - the fear that the possibilities of rational self-scrutiny and of becoming 'less deceived' have been discredited by the history of the twentieth century, and that this history instead evidences the dominance of irrational and self-destructive tendencies in the human. These fears, it is further claimed, are implicated in the works of all three authors in a tendency towards the construction of Edenic myths, deterministic simplifications, and despairing devaluations of the value of human life. Overall, this thesis makes the case for the significance of the common concerns of Martin Amis, Kingsley Amis and Philip Larkin's works in the context of contemporary literary studies: their efforts to create in art an unpretentiously 'public space' for the address of burning moral and existential issues, and their unresolved struggles with the question of what it might mean to live a good life in a society which no longer possesses religion as a common moral language.
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Roberts, Mark Patrick Davidson. "The guilty influence : Philip Larkin among the poets." Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/11185/.
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Scholarship on Philip Larkin tends to limit him as a poet, through accusations of narrowness both of subject-matter, and of received influence. The paradox between Larkin’s undoubted place as an important, beloved poet, and the supposedly limited nature of his verse, has served to isolate him – unlike other poets (e.g Ted Hughes) – Larkin’s recognised influences are few. It is commonly accepted that he was influenced perhaps only by W. H. Auden, W. B. Yeats, and Thomas Hardy. He is seen as an opponent of modernism, specifically of the poetry of T. S. Eliot, and his accepted modernist heirs; Robert Lowell, Hughes, Sylvia Plath and others. My project sets out to prove that this view of Larkin is simplistically limited. Sufficient (indeed, much) evidence exists of Larkin as having been a keen reader and assimilator of a wide range of influences, from Eliot through Dylan Thomas, Lowell and Plath. Much of this evidence (e.g. 2010’s Letters to Monica) has come to light only recently, and is yet to be fully acknowledged for the effect that it has had on our reading of Larkin. Added to this is a body of older evidence (1992’s Selected Letters) arguing for Larkin’s ‘English’ influences to be rooted in the ‘studied impersonality’ of Edward Thomas and Wilfred Owen. When compared to Hughes and Thom Gunn, similar poetic and thematic concerns unite these three poets, so often thought to be at odds. These ‘guilty’ influences, show Larkin to be a far more culturally receptive poet than he is often thought of as being. Why such evidence has gone unused or under-appreciated is considered here, as is an assessment of both Larkin’s defenders and detractors. I argue for a more open, less limiting reading of Larkin, and note that, recently, this argument has been gaining ground in scholarship.
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Pekarske, Nicole. "Intermissa, Venus /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3091955.
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Jackson, Patrick Earl. "This side of despair : forms of hopelessness in modern poetry /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1421604231&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of Oregon, 2007.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 333-340). Also available for download via the World Wide Web; free to University of Oregon users.
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Allen, Brenda. "Emperors of the text: Change and cultural survival in the poetry of Philip Larkin and Carol Ann Duffy." Thesis, University of Canterbury. English, 1999. http://hdl.handle.net/10092/4566.
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Philip Larkin and Carol Ann Duffy have been, and are, regarded as a step ahead, as the voices that aid other citizens in their struggle to delineate the nature of their concerns about their society and the changes that must be coped with, internalised and incorporated into daily life. Because they are living in times of change, Larkin and Duffy are forced to find new ways to preserve their cultural identity that are not predicated on traditions that are dying or being superseded. The most startling of these changes, however, also affects Britain at the national and international level and in this thesis I examine the writing (including archival material) and life of these poets to argue that their efforts to deal with change may be seen as mirroring the stance of their nation, since in a nation with an elected government there must be, at some level, approval for and participation in, the modus operandi of that government. That these practices are imperialistic can come as no surprise, but ideas and practices of imperialism have changed. Thus it is that the older of the poets, Philip Larkin, harks back to the time of British Imperial glory, and the younger, Carol Ann Duffy, maintains a watching and speaking brief based on humanistic values of egalitarianism.
Larkin, although he purports to be liberal, especially in matters he regards as the merely conventional, fights against the very structures that could be helpful to him and prioritises the sustaining of a past that has no future except as memory and text. His refusal to conform to the social and canonical demands of his younger days, however, ensures that he experiences ambivalence toward most of the structures he criticises as well as toward those he embraces. Nevertheless, his directionless rebellion paves the way for Carol Ann Duffy to move freely between the canonical and the vernacular, in terms of diction and subject matter. To this, Duffy has added her own determination to interrogate meaning, and to represent a culture that is changing by de constructing and reconstructing canonical form in a way that Larkin did not.
The first two chapters of this thesis are about the importance of data and archive, especially the written word, to ideas of the British Empire, and Larkin's over-reliance on archive in his own life. The dysfunctional subjects of Duffy's poems, who display similar reliance on data and archive, are then discussed and related to her own, contrasting awareness of the difference between data and knowledge. The third chapter, in two parts, demonstrates that the imperialist practices of each poet are carried over into the world of personal relationships. Because of his more rigid attitudes, Larkin does not achieve transcendence in this sphere, but Duffy demonstrates that moments of rapture are possible. The last three chapters deal with the most prominent features of imperialism: religion, territory and war. The chapter on war, in particular, is based on archival material that Larkin wrote during or about war, that he saw fit to keep private until after his death; and the chapter also utilises Duffy's lesser-known early works. The conclusions of these chapters confirm those of the previous chapters.
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Alou, Ramis Damià. "El concepto de marcador estructural: su aplicación en el discurso poético de Phipil Larkin." Doctoral thesis, Universitat Pompeu Fabra, 2008. http://hdl.handle.net/10803/7588.
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La presente tesis consta de dos partes principales. En la primera se pretende definir y delimitar el concepto de marcador estructural como herramienta de análisis textual aplicada a la traducción poética. Tras una aproximación a la especificidad del texto poético, y tras repasar las principales aportaciones teóricas a la traducción poética, identificamos los marcadores estructurales con los rasgos estilísticos que marcan el armazón semántico del texto.Posteriormente, se aplica el análisis basado en los marcadores estructurales a 21 poemas de Philip Larkin, seleccionados por temas. El producto práctico de este análisis es la traducción al castellano de cada poema, acompañada de un mapa donde figuran los rasgos que forman la estructura; y el producto teórico una caracterización estilística de la poesía de Larkin, representada en un mapa donde figuran sus principales rasgos estilístico.
También se aporta un esbozo de crítica de la traducción basado en dicha herramienta.
This dissertation consists of two parts. The first one is an attempt to define and delimit the concept of structural marker as a tool of text analysis applied to poetic translation. After dealing with the specificity of the poetic text and re-examining the main theories about poetic translation, structural markers are identified with the stylistic features that mark the semantic frame of the text.
Afterwards, we apply the analysis based on the structural markers to 21 poems by Philip Larkin, put into groups by themes. The practical outcome of this analysis the translation to Spanish of this poems, accompanied with a map where the main structural features can be seen; and the theoretical outcome is a stylistic characterisation of Larkin's poetry, which we represent in a stylistic map.
We also find an outline of translation criticism based in this tool called structural marker.
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Brumage, Adrienne Elizabeth. "Philip Larkin : a critical study of the poetry in relation to relevant conventions and traditions of twentieth-century writing." Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/21970.
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Bibliography: pages 159-163.My approach in this thesis has been thematic rather than chronological: I attempt to treat Larkin's poetry in detail and as representatively as possible, but the discussion takes place in relation to dominant figures and movements in the poetic practice of the twentieth century. I have chosen to concentrate on Larkin's mature poetry, for the break with the method of The North Ship is so unusually distinct that the inclusion of this earlier volume would, for my purposes, be distracting rather than informative. Within the three later volumes I do see some signs of development though no major shift of emphasis.
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Pariser, Lili. "A Poetics of Space: Opening Up a World Through Vessel Metaphors in Modern and Contemporary Poetry." Oberlin College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1337099353.
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Negri, Chiara <1996>. "Philip Larkin A Poet In-between the Movement and Modernist Writing and Music." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19328.
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La tesi si concentra sull'autore e poeta Philip Larkin, uno dei protagonisti inglesi del ventesimo secolo. Larkin aveva una visione particolare sulla letteratura e sul jazz, il tipo di musica che lui amava di più ed era solito recensire. Il primo capitolo è biografico, copre brevemente tutta la sua vita, le sue pubblicazioni, gli eventi importanti che gli sono accaduti e anche la sua complicata relazione con le donne. Il secondo capitolo si concentra su due correnti letterarie, quello che definiamo "The Movement" e il suo opposto, il "Modernismo". Anche se il Movement non era un gruppo organizzato, sappiamo che Larkin ne condivideva le opinioni e ne faceva parte, se non addirittura ne era l'esponente più importante. Allo stesso tempo, non teneva segreto il suo odio per il modernismo. Il secondo capitolo esplora le sue ragioni e la sua posizione su entrambi i trend letterari. Il terzo e ultimo capitolo segue la distinzione tra Movement e Modernismo ma questa volta sul tema della musica, del jazz in particolare. Larkin amava il jazz e lo recensì per anni sul Telegraph. Egli distinse chiaramente il tipo di jazz che amava da quello che definiva jazz "moderno". Il capitolo finale analizza questa distinzione attraverso le parole di Larkin stesso e dei suoi critici.
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Rogers, Samuel J. W. "The 'Movement', the 'British Poetry Revival', and located identity in twentieth-century British poetry : with a focus on the work of Donald Davie, Ian Hamilton Finlay, Allen Fisher, Roy Fisher, Lee Harwood, Elizabeth Jennings, Philip Larkin, and John Wain." Thesis, Bangor University, 2014. https://research.bangor.ac.uk/portal/en/theses/the-movement-the-british-poetry-revival-and-located-identity-in-twentiethcentury-british-poetry--with-a-focus-on-the-work-of-donald-davie-ian-hamilton-finlay-allen-fisher-roy-fisher-lee-harwood-elizabeth-jennings-philip-larkin-and-john-wain(beafc78d-6182-447b-ad77-4c42fec8ef11).html.
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This thesis will focus on the work of eight British poets established in the 1950s or ‘60s as part of either the ‘Movement’ or the ‘British Poetry Revival’. The research will proceed from the prominent role played by these two groupings in understandings of British poetry, as expressed in existing criticism and in a number of poetry anthologies. As will be demonstrated, the opposition of these groups frequently stands in place of a more fundamental binary view of twentieth-century British poetry, which might be expressed in terms of mainstream versus margins or traditionalism versus experimentalism. At the core of this thesis, the eight poets under discussion will be placed in a series of comparisons that deliberately invokes such a binary split. Reading their poetry with a focus on landscape and ‘located identity’, I will suggest that the opposition between Movement and Revival poetry may be re-examined with a geographical or spatial emphasis. After introducing the critical terrain, I will demonstrate how poetry anthologies have helped frame the two groups of poets with potentially incompatible models of literary history. These models will be shown to engage with questions of cultural identity and the relationship of literary texts to national space. This will lay the foundations for my central chapters, which will each begin with a literary method of distinguishing Movement and Revival practice, but will then reveal the discourses of identity, locality, and territory that are also involved. Thus, the thesis will engage with matters of realism, syntax, lyricism, and poetic structure, for instance, but will also intimately connect such considerations to its central concern with located identity. By enacting this re-phrasing of an existing binary, I aim not only to fruitfully illuminate and interlink the two bodies of poetry, but also to suggest an altered method of mapping British poetry.
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Despotovic, Tatjana. "Molly Keane’s good behaviour and Philip Larkin’s collected poems : some aspects of poetic memory." Diss., 2005. http://hdl.handle.net/2263/30228.
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How can we speak of the action of the mind under any divisions, as of its knowledge, of its ethics, of its works, and so forth, since it melts will into perception, knowledge into act? Each becomes the other. Itself alone is. Its vision is not like the vision of the eye, but is union with the things known. (Ralf Waldo Emerson, ‘Intellect’ 1841 in Stephen Wilson, The Bloomsbury Book of Mind, 2004:60) This study is a comparative study of the term “poetics of memory” and its psychological, linguistic, socio-cultural or metaphysic interpretation, applied to Philip Larkin’s poetry in Collected Poems and Molly Keane’s Good Behaviour. It also focuses on the exploration of some parts of the development of aesthetic thought – such as the categories of beauty, or the sublime, seeing them as an integral part of various literary theories. They are again linked to the term ‘poetics of memory’ as a complex of the aspects in the interpretation of the particular literary genre, style, or even a period. The meaning of the term “memory” is questioned, in its application to the presented literary genres of poetry and novel, particularly its use in the contexts of a selective memory. The study includes a discussion of Plato’s anamnesis, antique divine possession, catharsis, Proust’s involuntary memory, and the nature of a literary text as such, (with all its semiotic and stylistic characteristics). Larkin and Keane’s poetics deal with memory, recollection and time in relation to consciousness, linking these concepts to the influences of the same general historical and cultural climate under which the writers developed their own literary styles and personal messages, chosen to express a variety of ideas. Having as a background a history of Western thought, particularly the modern aesthetic streams of the second half of the twentieth century – ranging from modernism to the deconstruction of post-structuralism, Larkin and Keane share a common ground of feelings of negativism, nihilism, alienation and atheism. These aspects are explored. The applied term of the “poetics of memory” may be a key aesthetic term of understanding the history and essence of humanity and keeping it alive.Dissertation (MA (English))--University of Pretoria, 2006.
English
unrestricted
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Rosevere, Paul, and 廖保羅. "Living on the Periphery: Place and Space in the Poetry of Philip Larkin." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/qs7kyk.
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碩士國立中央大學
英美語文學系
101
Chinese Abstract 由於菲利普．拉金(Philip Larkin)的詩篇作品包含多方面的主題，因此長久以來受到各界相當大的批判性關注，甚至批評的主題與方式也很廣泛。自從菲利普．拉金的著作“信札選”出版，以及此後一年，安德魯．莫遜(Andrew Motion)出版最後確定版的“菲力普拉金傳記”後，拉金的生平便開始受到龐大的注意。拉金傳記出版後，各界大多將焦點聚在拉金詩篇中所描述的地點，與實際地點之間的關聯。這些關聯使得拉金被批評者稱為實際地點的地方性反現代主義者詩人。不過這也讓拉金詩篇中所襯托出的地點性(placiality)與空間性(spaciality)極少受到當有的注意。本論文特別將重點放在拉金的“詩合集”(The Collected Poems)上，並主張拉金的詩論代表的就是，以根深蒂固性的地方性，還有代表自由的空間性之間的價值衝突的辯論。拉金詩篇的敏感度總是在一種開放空間的現代概念所允許對自由的親和性，以及隨之發生的遺落，以至於這些改變所承受根深蒂固的價值與地方性之間擺動。