Dissertations / Theses on the topic 'Poetry of Mennes and Smith'

This thesis argues that Stevie Smith's poetic style can be attributed to her gender. It shows that the dominant status of masculine poetry and poetics, and the prejudice against women poets, affected Smith's poetic style and led to her search for the source ofa feminine poetic voice. The prevailing circumstances when Smith began to publish poetry are examined in order to establish Smith's socially appropriate poetics. The thesis offers detailed textual analyses, informed by feminist theories. Chapters one and two take a socio-historic materialist approach to examine the problems confronting Smith as a woman poet. This includes considering Smith's categorisation as a poet of the suburbs, and the dominance of the Auden group. Chapters three to five look at Smith's use of children's literature and the influence of Blake and Wordsworth. Judith Butler's ideas ofperformativity, and Carolyn Steedman's of interiority, are used to propose that both are relevant to Smith's preoccupation with childhood. Smith's engagement with, and subversion of, the male poetic tradition and the idea of the muse are also considered. The last two chapters on the themes of birth and death draw on the ideas of Helene Cixous and Julia Kristeva in order to argue that Smith's longing for death is a wish for rebirth, therefore a return to the maternal semiotic source which facilitates poetry. In this way death does not withhold language, but enables linguistic acquisition. This thesis adds to existing knowledge about Smith, and extends debates surrounding women and poetry. It contributes to feminist analyses of fairy tales, the poetic tradition, and the idea of the muse, and expands psycholinguistic theory to propose the relevance of death as well as infancy, and to suggest that Smith's preoccupations with the source of feminine poetry anticipates some fundamental theories of the 'French' feminists.

This thesis reads individual affects in the compositions of Edward Lear, Thomas Stearns Eliot, and Stevie Smith. My central question is the extent to which compositions can be driven by, perform, and treat affect. In exploring how rhythmical tendencies ally with the representations of affect in poets’ published verses and unpublished manuscripts, I investigate how feelings are patterned and performed by poets and their poems. My research method combines close reading and biographical research with examinations of unpublished archival materials housed in the Houghton Library in Harvard, Berg Collection in New York, and McFarlin Library in Tulsa. The three types of affect I examine are: tears in Edward Lear (chapter one), nerves in T. S. Eliot (chapter two), and aggression in Stevie Smith (chapter three). Each chapter is divided into three sections and a fourth concluding section. These are chronologically as well as thematically shaped to follow the progress of a life as it comes to terms with affect in writing. In Chapter One, Lear’s Tears: ‘Breaking’ looks at moments of emotional rupture or bursting in Lear’s verses; ‘Private melody’ explores how tearfulness is secreted into and by his compositions; ‘Turtle, you shall carry me’ examines Lear’s dramatisation of rhythm as carrying us through upset; and ‘Too deep for tears’ contemplates Lear’s playful surfaces as leading us unknowingly into tearful depths. In Chapter Two, Eliot’s Nerves: ‘Early jitters’ looks at Eliot’s rhythms as dramatising moments of nervous crisis in the Inventions of the March Hare drafts; ‘Nerves in patterns’ explores how he develops this technique throughout the 1920s as influenced by his personal, theoretical, and socio-medical context; ‘Sickly vehicle’ questions whether The Waste Land drafts dramatise nervous breakdown and its treatment; and ‘When words fail’ explores Eliot’s apprehension of rhythm as a way ‘to report of things unknown’ and ‘to express the inexpressible’. In Chapter Three, Smith’s Scratches: ‘Beast within’ looks at how Smith considers her Muse to be an aggressive other that scratches for release from within her; ‘Scratching out’ examines how fantasies of violence are played out in her verses to bring her ‘ease’; ‘Too low for words’ explores how off-kilter rhythms dramatise ‘mental disequilibrium’ in her writing after 1953; and ‘Darker I move’ uncovers, through a close examination of Smith’s dying rhythms, that her music lay deeper than her words. In my afterword on disorder and dancing, I argue that these discoveries illuminate our understanding of poetics, at whose heart lies a mysterious acknowledgment of the psychosomatic nature of expression and its drive to release and re-form thoughts and feelings. If poetic rhythm can dramatise attempts to articulate and control affect, then affect moves the human creature and its language in the same way as rhythms move through bodies of poetry. This small-scale observation has large-scale implications for literary practice as feeding on psychosomatic disorder while crafting compositions of thoughts and feelings lying beyond human articulation and comprehension.

A thematic comparison of the work of British Romantic poets Charlotte Smith and John Keats, examining their meditations on the use of poetry and the poet's role, shared ambivalence toward the visionary imagination and escapism, and similar approaches to seasonal process and progression.

This thesis argues that as historians of English-Canadian poetry, A. J. M. Smith, John Sutherland, Northrop Frye, and Desmond Pacey explicitly promote the value of past conflict reconciled into present harmony. They do so by claiming that such reconciliation marks the maturity of English-Canadian culture. This thesis also argues, however, that the interactive progression of their histories implicitly undermines this value. It does so because each critic appreciates a different group of poets for realizing their shared cultural ideal, thereby establishing contradictory representations of what they all claim to be the culmination of English-Canadian literary history. The thesis concludes that while their lingering sense of present cultural maturity should now be fully renounced, the value these critics place on reconciliation is well worth preserving and transforming.

Unindo crítica cultural à pesquisa acadêmica, pretendemos mapear a poesia de Patti Smith e Ana Cristina Cesar, partindo de seus respectivos contextos da década de 1970 o movimento punk nova-iorquino, nos Estados Unidos, e a poesia marginal, no Brasil , para então explorar seus pontos de convergência, no que tange a uma micropolítica do feminino e a uma estética de confrontamento. Pensamos ambas as poetas como cartógrafas de uma época e das transformações intrínsecas a essa época, mapeadas por elas no fazer poético, no corpo da linguagem, por meio de uma política-estética; por elas somos levados à política como estética; à política menor, do eu mínimo, de Deleuze, em caráter contingente, de subjetividade e feminilidade. Discutimos também como, a voz do feminino localizado em Patti e Ana C. dá vazão à abertura de um novo tipo de experimentalismo que se integra a uma genealogia de arte/cultura e ao legado da poesia moderna travando diálogo com elementos catalisadores do pós-moderno que desembocariam no contemporâneo.
By merging cultural criticism and academic research, we aim to rummage the poetic works of Patti Smith and Ana Cristina Cesar, starting from their respective contexts in the 1970s the New York punk scene in the United States, and marginal poetry in Brazil , and on to explore their points of convergence within the micropolitics of the feminine and an aesthetics of confrontation. The two poets are taken as cartographers of a time and of the changes that are intrinsic to that time, which they chart on the making of poetry, on the body of language, by means of a politics-aesthetics. We are led to politics as aesthetics a politics of what is contingent, of subjectivity and of femaleness; Deleuzes minor politics, or politics of the minimal self. We will also discuss how, in the voices of the feminine (further than that of feminism) that underpin their poetics/aesthetics, a new kind of experimentalism opens up within a genealogy of art and culture and the legacy of modern poets thus engaging in a dialogue with a small/minor History, with the microsphere, the outsider, and disruption; unfoldings of nascent notions of the post-modern and the contemporary.

"March 2002".
Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2005.
Bibliography: p. 324-344.
Introduction: framing the texts -- Subversive voices -- Formulating a theoretical position -- Performance: a complete process -- On second thoughts: rewriting contemporary culture -- Performing On second thoghts -- Dialogic voices: Amanda Stewart and # -- Performing # -- Voices of desire: Ania Walwicz and Soft -- Performing Soft -- Marginal voices: Hazel Smith and Poet without language -- Performing Poet without language -- Conclusions: interpreting subversive voices.
This study considers the text and performance of four Australian experimental poets, Chris Mann, Amanda Stewart, Ania Walwicz and Hazel Smith. My aim is to demonstrate how the genre of experimental poetry uses language and performance in such a way as to rewrite existing dominant discourses. The challenge as an analyst is to find ways into such reflexive texts that use intertextual resources of critical theory as their subject matter. The perspective employed here engages with the theories posited by the texts and allows for a theoretical position removed from the structure and theories informing them. -- The study is organised in two parts. First, I consider the subversiveness of the genre drawing on Raymond Williams' notion of the emergent, followed by a discussion of important predecessors in the field of experimentation. I then outline the particular method of enquiry and theoretical framework used here to analyse the meaning potential of such works. Systemic Functional Grammar and Multimodal Discourse theory are discussed and their particular application in this study. The second part of the thesis applies these theories to the experimental works. -- I begin explaining my theoretical position by considering the weakness of the commonly used theories of Kristeva's 'semiotic' to analyse such works. I found Systemic Functional Grammar, as developed by Michael Halliday and then Terry Threadgold, to be a useful tool for elucidating the meaning potential behind the fractured grammars in the texts. It also provided a way of conceptualising enunciative positions and the way intertextual resources might be rewritten. From within this linguistic framework I was able to discern subversive messages from the intertwined theories ranging across the texts from Marxism, structuralism, psychoanalysis, feminism and multiculturalism. -- The performance posed another challenge as the improvised spoken texts, uniquely performed by these artists, create a subversive listening position for the audience, which engages with both the words and sounds for their sonic and semantic qualities. I consider many ways of addressing the role and behaviour of the performer and listener as well as the performance as a creative process, emerging from the two. I engage the model put forward by Kress and Van Leeuwen for analysis of multimodal texts which provides a functional approach to meaning potential in the performance and its varying layers. Within this model, I found prosody most useful for its ability to notate intonation, key, disjuncture and stress, exposing the dialogic voices and the relationship between semantics and sound in the performances. This form of communication is equivalent to the indexical entailment of sound and music which forms the basis for communication between performers, and between performer and audience. The dialogic situation is enhanced by both prosody and indexical entailment providing possible meanings. I use some traditional musicological analysis but my aim is to move away from such formalistic descriptions to consider culturally inscribed sounds and their interpretation using a functional model. -- Throughout, the complexity of experimental performance is evident but the theoretical frame used here might be applied to other works of this nature as a means of further understanding the semiotic web in subversive texts.
Mode of access: World Wide Web.
344 p., music

This research aims to illuminate how and why war challenges the limits of poetic representation, through an analysis of non-combatant poetry of the Second World War. It is motivated by the question: how can one portray, represent, or talk about war? Literature on war poetry tends to concentrate on the combatant poets of the First World War, or their influence, while literature on the Second World War tends to focus on prose as the only expression of literary war experience. With a historicist approach, this thesis advances our understanding of both the Second World War, and our inherited notions of 'war poetry,' by parsing its historiography, and investigating the role critical appraisals have played in marginalising this area of poetic response. This thesis examines four poets as case studies in this field of research-W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith-and evaluates them on both their individual explorations of poetic tone, faith systems, linguistic innovations, subversive performativity, and their collective trajectory towards a commitment to represent the war in their poetry. The findings from this research illustrate how too many critical appraisals have minimised or misrepresented Second World War poetry, and how the poets responded with a self-reflexivity that bespoke a deeper concern with how war is remembered and represented. The significance of these findings is breaking down the notion of objective fact in poetic representations of war, which are ineluctably subjective texts. These findings also offer insight into the 'failure' of poetry to represent war as a necessary part of war representation and prompt a rethinking of who has the 'right' experience-or simply the right-to talk about war.

The aim of this dissertation is to propose a translation into English of ten poems extracted from the collection Life on Mars by African American author Tracy K. Smith. Conceptually originating from the death of Smith’s father, an aerospace engineer who worked on the Hubble Space Telescope, the book explores the ways in which the experience of mourning can function as a telescopic lens capable of putting into perspective the grand questions about existence, afterlife and the nature of the divine. The work of translation is preceded by a study of the recent history of American poetry – with a particular focus on circumscribing the literary landscape where Smith’s work came into being – and a close analysis of the book. More specifically, Chapter 1 offers a general framework of the main poetic tendencies that developed in the wake of Modernism and investigates how they influenced the hybrid scenario of contemporary American poetry; subsequently, it zooms on the recent history of African American poetry, and in particular on the post-soul experiences of the Dark Room Collective and the Cave Canem Foundation, of whom Smith was an active member. Chapter 2 provides a brief biography of the author and explores the collection Life on Mars on different levels (genre, structure, meter, themes and style), attempting to highlight the connections that the work entertains with the context previously outlined and the sensible aspects that will successively prove relevant during the translation process. Chapter 3 outlines the selection criteria adopted for the choice of the ten poems that make the object of this work and presents their Italian translations side by side with the original texts. Finally, Chapter 4 deals with notions related to the practice of translating poetry, initially from a theoretical point of view and then focusing on the concrete issues encountered during my work of translation and the strategies applied to solve them.

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

Dissertação de Mestrado em Estudos de Cultura, Literatura e Linguas Modernas apresentada à Faculdade de Letras
Esta dissertação, Patti Smith, Horses: Poesia Sob a Forma de Música, examina o trabalho da poetisa, cantora e compositora Nova-iorquina Patti Smith, e particularmente o seu álbum de 1975 Horses (que se encontra analisado extensivamente no Capitulo 3 da presente dissertação). Esta análise explora as temáticas da morte, género e religião que são centrais no trabalho da artista e relaciona os mesmos com a escrita autobiográfica e os retratos da família, bem como das influências literárias e musicais de Patti Smith. Esta análise também oferece considerações críticas acerca da afirmação que Smith faz sobre a sua escrita “transcender raça, género, batismo, matemática e truques políticos”.Smith tem sido vista como uma figura predominante na cultura Americana ao longo dos últimos 40 anos. Uma iconógrafa do rock que se tornou ela própria num ícone cultural. Patti Smith era já uma poeta publicada antes de se tornar uma cantora de rock o que contribui para a ligação que esta exerce entre a literatura e a música popular, bem como o que é por vezes designado de cultura de elite e cultura das massa (esta teve também ligações com o mundo artístico de Andy Warhol e de Robert Mapplethorpe).No que diz respeito à estrutura, a presente dissertação encontra-se dividida em cinco capítulos. O primeiro capítulo é introdutório, fornece algumas informações biográficas acerca de Patti Smith e delineia a dissertação a partir desse ponto. Uma vez que Patti era já uma poetisa com obras publicadas antes de envergar na sua carreira musical, o segundo capítulo foca-se no seu trabalho anterior a Horses. Segue-se então o capítulo principal que analisa em detalhe cada canção no álbum e o capítulo seguinte tem como foco algumas canções presentes nos vários lançamentos posteriores a Horses. O capítulo final consiste numa conclsuão.
This dissertation, Patti Smith, Horses: Poetry in Musical Form, examines the work of the New York-based poet and singer/ songwriter Patti Smith, and particularly her 1975 album Horses (which is extensively and closely analysed in Chapter 3 of this dissertation). That analysis explores the themes of death, gender and religion that are central to Smith’s work and relates them to Smith’s autobiographical writing and to her portraits of her family and her musical and literary influences. It also offers a critical account of Smith’s claim that her writing is “beyond race gender baptism mathmatics politricks”.Smith is seen as a major figure in American culture during the last 40 years. An icoingarapher of rock who herself became a cultural icon. She was a published poet before she was a rock and roll singer and so she links literature and popular music, and also what is sometimes called high and mass culture (she had also connections with New York art world of Andy Warhol and Robert Mapplethorpe). Structurally this dissertation is divided in five chapters. The first chapter is introductory, it gives a few biographical information about Patti Smith and it delineates the dissertations outline from that point on. Because Patti was already a published poet before she started her music career, the second chapter focuses in Patti's work before Horses. Then the main chapter analyzes in detail each song on Horses and the chapter after focuses in a few songs from the various studio releases Patti Smith had put out since Horses. The final chapter consists of a conclusion.

Thesis (Ph. D.)--University of Iowa, 2000.
Supervisor: Adalaide Morris. Title-page, preliminaries, Certificate of approval, and Table of contents issued in paper (x, 6 leaves ; 28 cm.). Includes bibliographical references. Also issued on CD-ROM (35 files, 132 megabytes).

This dissertation examines poets’ public performances in order to understand the social role of the poet in contemporary America. In the twenty-first century, poetry is increasingly disseminated through live events and digital media, and a rising number of people publicly share their poems. These changes present challenges for authors looking to attain credibility in the eyes of critics and audiences. The Role of the Poet examines how four poets perform their differences from non-authors, and thus form relationships with their audiences. In constructing roles for themselves, poets also make claims about the ontology of poems—whether they are primarily written, oral, or performative works of art. Each chapter focuses on an individual poet’s strategies for performing the role of the poet, and by extension, constructing the role of the audience. The chapters examine the ways poets define poetry; they include discussions of poetry’s ontology and how public poetry performances affect the artform. Performances of authorship are shaped through the vehicles of poets’ writings, poetry readings, interviews, teaching methods, and public programs. Chapter 2 examines Robert Pinsky’s performance of authorship as authority, relating that performance to Pinsky’s canonical ambitions and his affirmation that poetry is an oral, but not performative art. Chapter 3 focuses on Billy Collins’s performance of authenticity, investigating the apparent paradox of achieving popularity while maintaining artistic integrity. Beau Sia’s political poetry is the subject of Chapter 4; his ability to affect change in his audience is considered, as well as his goal of an author-audience alliance. Lastly, Patricia Smith’s performance of authorship as a means of survival is discussed in Chapter 5. Smith performs intimacy with her audience; by sharing details of her life she models the process of writing in order to deal with various kinds of trauma.
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Stevie Smith, born Florence Margaret Smith in 1902, was one of the most popular English poets of the Sixties, remembered for her idiosyncratic style of writing and sense of sound; distinct drawings (with which she illustrated her poems); eclectic and very learned use of literary echoes and allusions; memorable readings (and singings); and schoolgirl attire. She lived in her London suburb at 1 Avondale Road, Palmers Green, from age three until her death. Her work is included in anthologies of modern poetry, and her novels, Novel on Yellow Paper, Over the Frontier, and The Holiday, are part of Virago’s “Modern Classics” series and still in print. All of her prose works – novels, stories, essays, and reviews – contain pieces of her poetry. She used French, German, and Latin in her work, reading widely in these languages. An astute reader of the Bible and admirer of hymns, she was brought up in the Church of England but proclaimed herself agnostic after finding herself unable to reconcile God’s love with the doctrine of eternal hell. Her English schooling, including writers such as Shakespeare, Crashaw, Dryden, Pope, Wordsworth, and Tennyson, informed her writing, as did nursery rhymes, proverbs, and children’s stories, notably Grimms’ fairy tales and Lewis Carroll’s Alice in Wonderland and Through the Looking-Glass. Animals and children are often characters in her poems; she cared deeply for them, though she believed she would have failed at having her own. This annotated selection of 75 poems, drawn from each of her original volumes, uses the true first editions as the copy-text and includes textual variants from drafts and later editions and printings. Her best-known poem, Not Waving but Drowning, is among those selected. Full-page scans from the first editions give the drawings that accompanied the poems. References, echoes, and allusions are identified just beneath the text of the poem for easy comparison. Glosses provide definitions for obscure or dated words, and an introductory essay discusses her life and work, giving an overview of how and why she came to write the way she did.
2031-01-01

Dissertação de mestrado em Língua, Literatura e Cultura Inglesa
This dissertation begins with some theoretical considerations regarding the nature of the language of literature and poetry, as well as the distinctive use of stylistics, rhetoric and figurative language, and its importance in the educational context, and then proceeds to a comprehensive reference to the poet Stevie Smith and her most relevant poetic corpus, which will also be proposed as a curricular content in the final part of the work. In the second part of this research, it will be argued that figurative language and stylistics, namely in the teaching of poetry, have been neglected in the English language teacher training sector of the Department of Modern Languages at ISCED (Instituto Superior de Ciências da Educação), located in the Benguela province of Angola. This neglect is caused by the lack of a necessary and direct focus on those important aspects which, we believe, are crucial for the development of the students’ critical and reflective skills, so that they can increase their learning autonomy. Taking into consideration the relevance of the problem and the need for intervention, two questionnaires were used to collect the necessary data: a teacher trainer questionnaire and a student questionnaire. The results from the questionnaires show that the teacher trainers are unanimous that the area of figurative language and stylistics in poetry has not been fully explored and that there is a need to include it in the curriculum, in order to boost the students’ linguistic competence and reflective skills. In their questionnaires, students refer to their lack of mastery of these important areas in their academic life; besides, resources, such as poetry books, are scarce, which makes it difficult to cultivate poetry reading habits. This research recommends that the study of figurative language and stylistics in poetry should be introduced at the beginning of the first semester of Year 3, and that a preliminary preparation in the elements of poetry should also be pondered regarding Years 1 and 2. The selected corpus from Stevie Smith’s collected poetry will serve as a pertinent basis and preparation for this study, given the fact that this poet not only uses but also revises both the traditions and modernity in poetry, scrutinizing the masculine ideologies and narratives behind them, through the use of allusion, irony, as well as the idiomatic and the proverbial. In short, she is proposed as an effective creative and pedagogical tool for the study of the many aspects pertaining to the language or languages of literature in general.
Esta dissertação começa por fazer considerações teóricas acerca da natureza da linguagem da literatura e da poesia, assim como do uso peculiar da estilística, retórica e linguagem figurativa, e respetiva importância no contexto educacional, fazendo de seguida uma referência abrangente à poeta Stevie Smith e ao seu mais relevante corpus poético, o qual será proposto como conteúdo curricular na parte final do trabalho. Na segunda parte desta dissertação, argumenta-se que a linguagem figurada e a estilística, nomeadamente no ensino da poesia, têm sido ignoradas na Repartição de Inglês do Departamento de Letras Modernas do ISCED (Instituto Superior de Ciências da Educação), localizado na província de Benguela, em Angola. Essa negligência advém da falta de um foco necessário e direto em aspectos relevantes que, acreditamos, são cruciais para o desenvolvimento de competências críticas e reflexivas dos estudantes, de modo a aumentarem a sua autonomia na aprendizagem. Considerando a relevância do problema e a necessidade de intervenção, foram aplicados dois questionários para a recolha da informação necessária: um questionário do formador de professor e um questionário de estudante. Os questionários mostram que os formadores de professores concordam que as áreas de linguagem figurativa e estilística na poesia não têm sido bem exploradas e que há a necessidade de inclui-las no currículo, para fortalecer as habilidades linguísticas e reflexivas dos estudantes. No seu questionário, os estudantes referem-se à sua falta de domínio nestas áreas cruciais da sua vida académica; ademais, recursos, tais como publicações de poesia, são escassas, o que torna difícil criar o hábito de leitura da poesia. Esta investigação recomenda que o estudo da linguagem figurada e da estilística na poesia deve ser feito no início do primeiro semestre do 3º ano, e que uma preparação preliminar no que toca aos elementos da poesia deve de igual modo ser ponderada em relação aos 1º e 2º anos. O corpus escolhido da poesia de Stevie Smith servirá de base e preparação importante deste estudo, dado ao facto de que essa poeta não só usa mas também revê quer o tradicional quer o moderno na poesia, radiografando as ideologias machistas e suas narrativas, através da alusão e da ironia, assim como dos idiomatismos e dos provérbios. Em suma, Stevie Smith é apresentada como um seguro instrumento criativo e pedagógico para o estudo dos vários aspectos relacionados com a língua e a linguagem literária em geral.