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Dissertations / Theses on the topic 'Northern Irish poetry; Criticism'
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1
Buxton, Rachel. "The influence of Robert Frost on Seamus Heaney and Paul Muldoon." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391013.
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Horton, Patricia. "Romantic intersections : romanticism and contemporary Northern Irish poetry." Thesis, Queen's University Belfast, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337039.
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McConnell, Gail Florence. "For a words sake : Theological aesthetics in contemporary Northern Irish poetry." Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534658.
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Lavery, Ian. "Rewritings, appropriations, deformations : aspects of intertextuality in contemporary Northern Irish poetry." Thesis, University of Stirling, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319808.
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Redmond, John Plunket. "Aspects of the interrelationship of British and Northern Irish poetry : 1960-1994." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365622.
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Bennett, Sarah. "The American contexts of Irish poetry, 1950-present." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669957.
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Cremin, Kathleen Mary. "Women, domesticity and Irish writing : foundations for a new kitchen?" Thesis, University of York, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313905.
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Sperry, Amanda N. ""Emblems of adversity" W. B. Yeats's poetics of violence and contemporary Northern Irish poetry /." Winston-Salem, NC : Wake Forest University, 2009. http://dspace.zsr.wfu.edu/jspui/handle/10339/41353.
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Haworth, Simon. "Fast enough : poems and places where a thought might grow : culture, liminality and the Troubles in Derek Mahon's Lives (1972) and The Snow Party (1975)." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/fast-enough-poems-and-places-where-a-thought-might-grow-culture-liminality-and-the-troubles-in-derek-mahons-lives-1972-and-the-snow-party-1975(a0aee0c1-7887-49e2-aaed-62ced953fffa).html.
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Fast Enough is a collection of poems that plays on the potential implications of its title when thinking about history, time, place, nationality, religion and culture. These things are always in flux, there are no fixed systems, no solutions can be endorsed. There is a nagging anxiety and sense of being overwhelmed by these forces as the poems negotiate and come into contact with them. Formally the poems are interested in the possibility of the stanza, a controlled but arbitrary use of line and rhyme, the use of enjambment and variations in tone or delivery, from the colloquial to the intellectual. They use both urban and bucolic imagery, interspersing this to disorientate and confuse. The collection aims to unsettle, to propose and reject when thinking about the relationship of poetry to historical and contemporary pressures; the result is an unattached individualism. The poems offer a critique and inform. Distance and detachment are important elements for these poems as they move between England, Ireland, America and Europe. This is both a search for subject matter, and a signal of their interest in peripherality, the margins, the interstices and an angular or askance approach to place. Often a composed outsiderliness can be sensed in the subject matter, or in alienated but open speakers who are strangers in their own country or another, and existentially aware (or alert – alert to the dangers of past, present and future events/selves) observers. The critical element of this thesis, Places Where a Thought Might Grow: Culture, Liminality and the Troubles in Derek Mahon’s Lives (1972) and The Snow Party (1975), is a long piece of academically engaged literary criticism that assesses Mahon’s second and third collections of poetry. Using a theoretical filter of liminality, the work argues that Mahon strategically or deliberately writes the liminal into his poetry as a form of dissent against the cultural fixity apparent in Northern Ireland in the early 1970s. This derives from a profound sense of alienation from his Northern Irish, Protestant/Presbyterian inheritance and a reluctance to assume a role akin to that of a communal spokesperson. To do so the work considers important and specific poems from both collections. These are contextualised around the Troubles, an era when unique and overwhelming political and religious extremes decisively and long lastingly impacted Mahon’s poetry. It reads these collections as a two-part project in which Mahon implements liminal, peripheral and interstitial ideas (through the use of place, objects, subject matter and form) to interrogate absolutism and tribalism in the province. The work also argues that Mahon’s poems, influenced by existentialism, millenarianism and postcolonialism, are liminal zones where identity and subjectivity can be freely re-conceptualised and the unwieldy, prescriptive influence of such things as nationalism and history broken down. The poetry of some of Mahon’s Northern Irish contemporaries (notably Seamus Heaney, Michael Longley and Paul Muldoon) is considered. The study also proposes that the influence of the writers Samuel Beckett and Louis MacNeice (key literary catalysts in Mahon’s divorce from his Northern Irish origins) are simultaneously at work in both collections, creating unresolvable tensions and paradoxes in these poems.
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Kruczkowska, Joanna. "The role of contemporary northern Irish poetry in the context of the conflict in Ulster." Paris 3, 2003. http://www.theses.fr/2003PA030134.
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Cette thèse a pour but de démontrer que le conflit en Irlande du Nord impose aux poètes de jouer certains rôles. Les méthodes d'approches du conflit ainsi que les divers modes de descriptions utilisés par les poètes dont l'œuvre est analysée dans cette thèse reflètent la situation en Irlande du Nord et le sentiment d'identité des poètes en question. Ces méthodes d'approches et modes de description constituent un 'prisme' au travers duquel ils peuvent rendre compte d'une manière adéquate des émotions et des évènements, et essayer de comprendre les mécanismes sous-jacents du conflit. Les poètes étudiés en détail sont Tom Paulin et Michael Longley. Le dernier chapitre, consacré aux relations entre la poésie nord-irlandaise et la poésie polonaise contemporaine, abordera également certains aspects de l'œuvre de Seamus HeaneyThe aim of this dissertation is to demonstrate that the situation of the Northern Irish conflict necessitates taking roles by poets, even if they claim having no 'public' role to perform in this context. The poets' approaches to the conflict and modes of description analysed in this work reflect the situation in the North and the poets' sense of identity. Those attitudes and modes serve to find a 'mirror' through which to convey emotions and events in an appropriate way and try to understand mechanisms behind the conflict. The poets discussed in detail are Michael Longley and Tom Paulin, two poets of the Ulster Protestant background. The last chapter, devoted to the links between Northern Irish and Polish contemporary poetry considers also some aspects of Seamus Heaney's work. It is based on Paulin's and Heaney's reading of Polish poetry and on the convergences between history and literature of both countries
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Macbeth, Georgia School of Theatre Film & Dance UNSW. "A Plurality of Identities: Ulster Protestantism in Contemporary Northern Irish Drama." Awarded by:University of New South Wales. School of Theatre, Film and Dance, 1999. http://handle.unsw.edu.au/1959.4/33257.
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This thesis examines the ways in which Ulster Protestant identity has been explored in contemporary Northern Irish drama. The insecurity of the political and cultural status of Ulster Protestants from the Home Rule Crises up until Partition led to the construction and maintenance of a distinct and unified Ulster Protestant identity. This identity was defined by concepts such as loyalty, industriousness and ???Britishness???. It was also defined by a perceived opposite ??? the Catholicism, disloyalty and ???Irishness??? of the Republic. When the Orange State began to fragment in the late 1960s and early 1970s, so did notions of this singular Ulster Protestant identity. With the onset of the Troubles in 1969 came a parallel questioning and subversion of this identity in Northern Irish drama. This was a process which started with Sam Thompson???s Over the Bridge in 1960, but which began in earnest with Stewart Parker???s Spokesong in 1975. This thesis examines Parker???s approach and subsequent approaches by other dramatists to the question of Ulster Protestant identity. It begins with the antithetical pronouncements of Field Day Theatre Company, which were based in an inherently Northern Nationalist ideology. Here, the Ulster Protestant community was largely ignored or essentialised. Against this Northern Nationalist ideology represented by Field Day have come broadly revisionist approaches, reflecting the broader cultural context of this thesis. Ulster Protestant identity has been explored through issues of history and myth, ethnicity, class, gender and sexuality. More recent explorations of Ulster Protestantism have also added to this diversity by presenting the little acknowledged viewpoint of extreme loyalism. Dramatists examined in this thesis include Stewart Parker, Christina Reid, Frank McGuinness, Bill Morrison, Ron Hutchinson, Marie Jones, Graham Reid, Robin Glendinning and Gary Mitchell. The work of Charabanc Theatre Company is also discussed. What results from their efforts is a diverse and complex Ulster Protestant community. This thesis argues that the concept of a singular Ulster Protestant identity, defined by its loyalty and Britishness, is fragmented, leading to a plurality of Ulster Protestant identities.
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Holmgren, Michele J. "Native muses and national poetry, nineteenth-century Irish-Canadian poets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq28493.pdf.
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Du, Ruohong, and 杜若鴻. "The interrelation between poetry and politics in the Northern Song dynasty." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46250529.
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Brazeau, Robert Joseph. ""Mired in attachment" : cultural politics and the poetry of Seamus Heaney and Thomas Kinsella /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0030/NQ66194.pdf.
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Pryce, Alexandra Rhoanne. "Selective traditions : feminism and the poetry of Colette Bryce, Leontia Flynn and Sinead Morrissey." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:3cff3422-3046-48d1-b765-05a815963ecd.
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This thesis seeks to argue for the problematising role of tradition and generational influence in the work of three Northern Irish poets publishing since the late 1990s. The subjects, Colette Bryce (b. 1970), Leontia Flynn (b. 1974) and Sinéad Morrissey (b. 1972), emerged coterminously, each publishing with major UK publishers. Together they represent a generation of assured female poetic voices. This study presents one of the first critical considerations of the work of these poets, and it remains conscious of the dominance of conceptions of tradition and lineage which are notable in poetry from Northern Ireland from the twentieth-century onwards. In suggesting that this tradition is problematised for emerging women poets by precursor-peer dominance and the primacy of male perspectives in the tradition, this thesis combines a study of poetics, themes relating to gender, detachment and paratexts. From consideration of these elements, it proposes that contemporary poets are not necessarily subject to the powers of tradition and influence, but rather, are capable of a selective approach that in turn demonstrates the malleability of contemporary traditions. The approaches are laid out in four chapters which move from a consideration of “threshold” paratexts (following from the work of Gérard Genette), including book reviews and dedications, through studies of thematic divergence and detachment, the changing status of women’s poetry traditions within Northern Ireland and beyond, the significance of gendered subjects in poetry, and influence found not in thematic or paratextual aspects, but in the individual aspects of poetic form. These aspects combine to form poems and the tradition(s) in which they continue. The thesis provides extensive coverage of the work of Bryce, Flynn, and Morrissey, combining close readings with the application of theoretical frameworks interrogating the implications of literary traditions on later writers (especially when the writers are temporally and culturally close), giving particular consideration to gender and feminist politics. It explores a variety of different critical truisms applied to the poetic generations that precede the younger poets and identifies both compliance and divergences from the contemporary Northern Irish canon. In doing so, this study simultaneously illuminates the frailties of the popular, overwhelmingly male, tradition, particularly as regards to representations of women, and provides direction for studies of post-millennial Northern Irish poetry.
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Schubert, Layla A. Olin 1975. "Material literature in Anglo-Saxon poetry." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10909.
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x, 208 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.The scattered instances depicting material literature in Anglo-Saxon poetry should be regarded as a group. This phenomenon occurs in Beowulf, The Dream of the Rood, and The Husband's Message. Comparative examples of material literature can be found on the Ruthwell Cross and the Franks Casket. This study examines material literature in these three poems, comparing their depictions of material literature to actual examples. Poems depicting material literature bring the relationship between man and object into dramatic play, using the object's point of view to bear witness to the truth of distant or intensely personal events. Material literature is depicted in a love poem, The Husband's Message, when a prosopopoeic runestick vouches for the sincerity of its master, in the heroic epic Beowulf when an ancient, inscribed sword is the impetus to give an account of the biblical flood, and is also implied in the devotional poem The Dream of the Rood, as two crosses both pre-and-post dating the poem bear texts similar to portions of the poem. The study concludes by examining the relationship between material anxiety and the character of Weland in Beowulf, Deor, Alfred's Consolation of Philosophy, and Waldere A & B. Concern with materiality in Anglo-Saxon poetry manifests in myriad ways: prosopopoeic riddles, both heroic and devotional passages directly assailing the value of the material, personification of objects, and in depictions of material literature. This concern manifests as a material anxiety. Weland tames the material and twists and shapes it, re-affirming the supremacy of mankind in a material world.
Committee in charge: Martha Bayless, Chairperson, English; James Earl, Member, English; Daniel Wojcik, Member, English; Aletta Biersack, Outside Member, Anthropology
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Annunciação, Viviane Carvalho da. "Exile, home and city: the poetic architecture of Belfast." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-30102012-123412/.
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The present thesis is concerned with how the poetry written in Northern Ireland throughout the twentieth century reifies the city of Belfast through language, metaphor and imagery, compiling a concrete constellation of aesthetic experiments. It also examines how its poets have represented not only Belfasts concrete and architectural landmarks, but also its historical and spatial displacements. Due to the Anglo-Irish Treaty in 1922, through which Ulster remained a constitutive part of the British Isles, while the South started to build the foundations of what was going to become the Republic of Ireland, Northern Irish poets have built a poetic landscape that has been instead incessantly fragmented through the motifs of alienation and displacement of subjectivity. Through the analysis of the Belfast poems by the poets Louis MacNeice, John Hewitt, Padraic Fiacc, Michael Longley, Derek Mahon, Ciaran Carson, Paul Muldoon, Medbh McGuckian, Seamus Heaney, Sinéad Morrissey, Leontia Flynn, Allen Gillis and Miriam Gamble, the thesis shows the poetic architecture of Belfast points to wider sociological spaces. It is never alone, or even single, but always plural and globally referential. Through a space of confluence which brings together dissimilar discourses, the selected poems present a desire to possess Belfast artistically, a city where art, history and memories intermingle and interact in a dynamic manner. Images, styles and ideas are carried from generation to generation and create a constellation of fearful and hopeful dreams. It engages past and present in a fruitful reflection on identitarian and artistic belonging.A presente tese tem como objetivo compreender como a poesia escrita na Irlanda do Norte representa a cidade de Belfast durante o século vinte. A hipótese defendida pela tese é a de que o trabalho poético com a métrica, figuras de linguagem e imagens cria uma constelação de experimentos estéticos. O trabalho também compreende como os poetas recriaram não somente os pontos de referência arquitetônicos de Belfast, mas também os seus próprios deslocamentos históricos e geográficos. Devido à assinatura do tratado anglo-irlandês em 1922 através do qual o Ulster se manteve parte das Ilhas Britânicas e o sul começava a 7 construir as fundações do que seria chamada futuramente de República da Irlanda, os poetas pertencentes à Irlanda do Norte criaram uma paisagem poética que é incessantemente fragmentada por meio da alienação e do deslocamento subjetivo. A análise dos poemas de Belfast escritos por Louis MacNeice, John Hewitt, Padraic Fiacc, Michael Longley, Derek Mahon, Ciaran Carson, Paul Muldoon, Medbh McGuckian, Seamus Heaney, Sinéad Morrissey, Leontia Flynn, Allen Gillis e Miriam Gamble, demonstra que a arquitetura poética de Belfast aponta para espaços sociológicos mais abrangentes. A cidade não é retratada singularmente, mas em sua conexão com outras localidades globais. Por meio de um espaço de confluência, que agrupa discursos diversos, os poemas selecionados apresentam um desejo simbólico de possuir Belfast, uma cidade em que arte, história e memórias interagem de forma dinâmica. Imagens e estilos são passados de geração para geração, criando uma constelação de sonhos aterrorizantes e esperançosos, que engajam passado e presente em uma reflexão sobre pertencimento identitário e artístico.
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Yoo, Baekyun. "Religion and Politics in the Poetry of W.B. Yeats." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278080/.
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Previous critics have paid insufficient attention to the political implications of Yeats's life-long preoccupation with a wide range of Western and Eastern religious traditions. Though he always preserved some skepticism about mysticism's ability to reshape the material world, the early Yeats valued the mystical idea of oneness in part because he hoped (mistakenly, as it turned out) that such oneness would bring Catholic and Protestant Ireland together in a way that might make the goals of Irish nationalism easier to accomplish. Yeats's celebration of mystical oneness does not reflect a pseudo-fascistic commitment to a static, oppressive unity. Like most mystics—and most modernists—Yeats conceived of both religious and political oneness not as a final end but rather as an ongoing process, a "way of happening" (as Auden put it).
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Chen, Lan, and 陈岚. "Lyric poems of the Southern dynasties' literati = 南朝 (420-589) 文人樂府研究." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45351521.
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唐梓彬. "任昉及詩文研究 = A study of Ren Fang's life and literary works." HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1146.
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Jindani, Ingrid Shirin. "La poétique textile de Paul Muldoon (1951-)." Thesis, Rennes 2, 2019. http://www.theses.fr/2019REN20025.
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Les images textiles parsèment l’œuvre de Paul Muldoon (né en 1951), où les tissus recherchés comme le « dimity », le « buckram » et le « barège » côtoient des articles de linge tel que les nappes brodées à la main, les couvertures souillées, et les tuniques en lin. L’ampleur et la fréquence des images textiles au fil de l’oeuvre constituent un trope qui occupe une place privilégiée dans l’univers de Muldoon. Procédant d’une lecture « textile » de sa poésie, l’hypothèse est posée que l’œuvre de Muldoon s’inscrit dans une tradition où texte et textile sont étroitement liés. Elle remonte à l’Antiquité grecque en passant par Jonathan Swift, W. B. Yeats et les poètes irlandais de l’après-guerre. En outre, cette thèse démontre comment Muldoon intègre l’héritage économique, politique et culturel de l’industrie textile en Irlande du Nord dans la trame même de ses textesThe Textile Poetics of Paul Muldoon (1951-) Paul Muldoon’s poetry has consistently made reference to textiles. Alongside descriptions of highly specialised fabrics such as dimity, buckram and barège, his work also features numerous textile images including hand-embroidered tablecloths, soiled blankets and linen shifts. Indeed, the detail and scope of Muldoon’s textile imagery suggests that the trope is central to his poetic. By examining the various ways he incorporates textiles into his poetry, this thesis posits the argument that Muldoon’s poetic is essentially a textile one. Moreover, by considering the relationship between texts and textiles, this thesis also aims to show how Muldoon’s textile poetic draws on a tradition extending from classical Greek poetry through to Jonathan Swift, W. B. Yeats and post-War Irish poetry. In addition it will also study how the economic, political and cultural legacy of Ireland’s textile industry is threaded through Muldoon’s work
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Mamabolo, Mabathoka Rosemary. "The development of Northern Sotho poetry from 1950-1980." Thesis, 2014. http://hdl.handle.net/10210/12133.
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""I step through origins": different forms of piety in Seamus Heaney's poetry." 2009. http://library.cuhk.edu.hk/record=b5893886.
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Swidzinski, Joshua. "Poetic Numbers: Measurement and the Formation of Literary Criticism in Enlightenment England." Thesis, 2015. https://doi.org/10.7916/D8GX49QB.
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This dissertation examines the importance of the concept of measurement to poets and literary critics in eighteenth-century England. It documents attempts to measure aspects of literary form, especially prosodic phenomena such as meter and rhythm, and it explores how these empirical and pseudo-empirical experiments influenced the writing and reading of poetry. During the Enlightenment, it argues, poets and critics were particularly drawn to prosody's apparent objectivity: through the parsing of lines and counting of syllables, prosody seemed to allow one to isolate and quite literally measure the beauty and significance of verse. Inquiries into the social and historical functions of literature routinely relied on this discourse, exploring questions of style, politics, and philosophy with the help of prosodic measurement. By drawing on works and artifacts ranging from dictionaries and grammars to mnemonic schemes and notional verse-making machines, and through close readings of poet-critics such as John Dryden, Alexander Pope, Thomas Gray, and Samuel Johnson, "Poetic Numbers" contends that the eighteenth century's fascination with prosody represents a foundational moment in the history of literary criticism: a moment whose acute self-consciousness about literary critical methods, as well as about whether and how these methods can aspire to count and account for aspects of literary experience, anticipates many of the methodological questions that mark our own time.
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Tjatji, Ramogohlo Magdeline. "A critical analysis of the poetry of M.I. Mogodi." Thesis, 2014. http://hdl.handle.net/10210/12135.
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M.A. (African Languages)The aim of this dissertation is to make a critical analysis of the poetry of M.I Mogodi. The study comprises of five chapters. The first chapter is the introduction where the focus is on why the poet's work is chosen for research. We will look into how the writer uses language to communicate his ideas in an understandable way. In the second chapter of our study we intend to develop a stylistic framework by looking deeper into the stylistic and other contributions made by different critics. In the third chapter of this study the intention is to analyze Mogodi's poetry books by looking into the different poetic techniques used by the poet. The analysis is undertaken by looking into the lexical, phonological and syntactic level. The fourth chapter of this work will endeavour to indicate how the poet has used proverbs, idioms and imagery as stylistic features to bring about more understanding in the literary work. Chapter five is the conclusion where we look back at how Mogodi managed to employ a variety of stylistic features to reveal his intention in his literary work.
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Kgobe, Dominic Mamahlo. "Content, form and technique of traditional and modern praise poetry in Northern Sotho." Thesis, 1994. http://hdl.handle.net/10500/17072.
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This thesis is a critical evaluation of the content, form and technique of
traditional and modern praise poetry in Northern Sotho.
Chapter 1 presents the aim of the study and the method of research and
defines the concepts of poetry and praise poetry. Praise poetry is viewed from
a traditional and modern perspective.
Chapter 2 deals with the content and technique of praise poetry. Content
consists of oral praise poetry lauding the heroic deeds of men in battles and
casual encounters. Modern praise poetry comments on current events.
Devices for rapid composition of the praises are discussed. Techniques differ
between poets and according to time, place and occasion.
Chapter 3 covers the traditional praises of chiefs, warriors, initiates, animals,
birds, divining bones and totem praises, examining them from the perspective
of content and form. The praises extol human achievements, peculiar animal
characteristics and the interpretation of "mawa" of divining bones.
Chapter 4 deals with the development and transition from traditional to modern
form as well as the reciprocal influence. The content and form of modern
praises of chiefs, academics, community leaders, animals, birds, divining
bones, man-made objects and some natural phenomena are discussed. Many
modern poets have also written praises of fictional characters.
Chapter 5 compares oral and written praise poetry by concentrating on the
similarities and differences between traditional and modern praise poetry. This
study shows that there are differences in of theme, rhyme, beginning and
ending, sentence length and significant emphasis on man-made objects such
as cars and locomotives as exceptional modes of transport for commuters.
Chapter 6 concludes the study and proves that praise poetry is a living or
dynamic entity which will continue to exist. Praise poetry highlights persons,
interpersonal relationships, attitudes and values derived from an African
conceptions of the universe.African Languages
D.Litt. et Phil (African Languages)
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Kgobe, D. M. (Dominic Mamahlo). "Content, form and technique of traditional and modern praise poetry in Northern Sotho." Thesis, 1994. http://hdl.handle.net/10500/17072.
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This thesis is a critical evaluation of the content, form and technique of
traditional and modern praise poetry in Northern Sotho.
Chapter 1 presents the aim of the study and the method of research and
defines the concepts of poetry and praise poetry. Praise poetry is viewed from
a traditional and modern perspective.
Chapter 2 deals with the content and technique of praise poetry. Content
consists of oral praise poetry lauding the heroic deeds of men in battles and
casual encounters. Modern praise poetry comments on current events.
Devices for rapid composition of the praises are discussed. Techniques differ
between poets and according to time, place and occasion.
Chapter 3 covers the traditional praises of chiefs, warriors, initiates, animals,
birds, divining bones and totem praises, examining them from the perspective
of content and form. The praises extol human achievements, peculiar animal
characteristics and the interpretation of "mawa" of divining bones.
Chapter 4 deals with the development and transition from traditional to modern
form as well as the reciprocal influence. The content and form of modern
praises of chiefs, academics, community leaders, animals, birds, divining
bones, man-made objects and some natural phenomena are discussed. Many
modern poets have also written praises of fictional characters.
Chapter 5 compares oral and written praise poetry by concentrating on the
similarities and differences between traditional and modern praise poetry. This
study shows that there are differences in of theme, rhyme, beginning and
ending, sentence length and significant emphasis on man-made objects such
as cars and locomotives as exceptional modes of transport for commuters.
Chapter 6 concludes the study and proves that praise poetry is a living or
dynamic entity which will continue to exist. Praise poetry highlights persons,
interpersonal relationships, attitudes and values derived from an African
conceptions of the universe.African Languages
D.Litt. et Phil (African Languages)
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Mokgoatsana, Sekgothe Ngwato Cedric. "Some aspects of N.S. Puleng's poetry." Diss., 1996. http://hdl.handle.net/10500/17482.
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The study vacillates between the text, the reader and the author. Examining
biography and such socio-cultural factors as marriage and cosmology, the
reader is equipped with sufficient background which illuminates the ideology
behind the text.
The cosmological conceptions of the Northern Sotho shed some light on the
poet's views on the child's first cry. These assumptions lay a foundation for
the religious views expressed in his texts. The contradictions between
African religion and Christianity help us comprehend the frustrations of
secular and religious lives in our country. These also serve as linchpins
towards understanding the pursuit of religious pluralism.
The concept 'intertextuality' is explored. Cases of intratextuality and
intertextuality which dispute the absolutist view in meaning composition
highlight the interrelatedness of texts and how each relationship impacts on
meaning.African Languages
M.A. (African Languages)
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Nováková, Lucie. "Daleko do klidu: prostor a domesticita v díle Medbh McGuckian a Leontie Flynn." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-436680.
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1 ABSTRACT Key words: Northern Irish poetry, Leontia Flynn, Medbh McGuckian, domesticity, domestic space, the Troubles, post-Agreement poetry The aim of the thesis is to observe the Northern Irish conflict from the vantage point of domestic space as it is reflected in Northern-Irish poetry of the last 40 years. The thesis builds on the notion that houses and homes are not simply private places but images of the outside world. To illustrate this premise, the works of two Northern Irish poets have been selected: Medbh McGuckian and Leontia Flynn. Divided by time, but not space, their poetry is to be placed into the context of Northern Irish poetry during the Troubles and the post-Agreement period. McGuckian's poetry is engaged with making a sense of the distinction between public and private spheres (Wills 1993), whereas Flynn's poetry, and post-Agreement poetry in general, shows signs of attempts to discover and establish her place within the context of the Troubles. In formulating her stance, Flynn relies on a perspective gained by leaving home and memories of growing up during the Troubles behind and travelling abroad (Heidemann 2016). Both poets write about the Troubles in light of the division between private and public spheres, thus illustrating how the violent politics have been part of Northern Irish...