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MacKenzie, Garry Ross. "Landscapes in modern poetry : gardens, forests, rivers, islands." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5910.
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This thesis considers a selection of modern landscape poetry from an ecocritical perspective, arguing that this poetry demonstrates how the term landscape might be re-imagined in relation to contemporary environmental concerns. Each chapter discusses poetic responses to a different kind of landscape: gardens, forests, rivers and islands. Chapter One explores how, in the poetry of Ian Hamilton Finlay, Douglas Dunn, Louise Glück and David Harsent, gardens are culturally constructed landscapes in which ideas of self, society and environment are contemplated; I ask whether gardening provides a positive example of how people might interact with the natural world. My second chapter demonstrates that for Sorley MacLean, W.S. Merwin, Susan Stewart and Kathleen Jamie, forests are sites of memory and sustainable ‘dwelling', but that deforestation threatens both the ecology and the culture of these landscapes. Chapter Three compares river poems by Ted Hughes and Alice Oswald, considering their differing approaches to river sources, mystical immersion in nature, water pollution and poetic experimentation; I discuss how in W.S. Graham's poetry the sea provides a complex image of the phenomenal world similar to Oswald's river. The final chapter examines the extent to which islands in poetry are pastoral landscapes and environmental utopias, looking in particular at poems by Dunn, Robin Robertson, Iain Crichton Smith and Jen Hadfield. I reflect upon the potential for island poetry to embrace narratives of globalisation as well as localism, and situate the work of George Mackay Brown and Robert Alan Jamieson within this context. I engage with a range of ecocritical positions in my readings of these poets and argue that the linguistic creativity, formal inventiveness and self-reflexivity of poetry constitute a distinctive contribution to contemporary understandings of landscape and the environment.
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PERDIGAO, MARIANO DA SILVA. "AN EARLY DRAFT OF 21ST-CENTURY BRAZILIAN POETRY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=10606@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORPartindo da herança deixada pelo panorama poético do século XX, desde o movimento modernista, passando pelo impacto cabralino, até a chegada da poesia dos anos 90, esta dissertação analisa os poetas nascidos a partir de 1975 e estreantes em livro no século XXI, numa tentativa de mapear e marcar o primeiro momento poético brasileiro que vem se formando na primeira década deste novo milênio.
Taking the legacy of 20th-century poetry as a starting point - from the Modernist movement through João Cabral de Melo Neto up to the poetry of the `90s - this thesis analyzes the works of poets born in 1975 or later who published their first books in the 21st century, attempting to map out the early stirrings of Brazilian poetry in the new millennium.
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Galloway, Lisa R. "Liminal : a poetry collection." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313634.
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This project comprises the best poetry written in my graduate study at Ball State University. The title, Liminal, is a term that has reappeared thematically in my work. Merriam Webster defines it as: "the threshold of a physiological or psychological response," but more than that, for me liminality is the doorframe between things; it is poetry. Poetry is a conglomeration of splicing between inner worlds and outer worlds; it tries to capture and recreate physiological or psychological responses, bringing the reader into the threshold that the writer has exited. Poetry is a door, a threshold; it is liminal. Thresholds are infinite and immeasurable; therefore, I have tried to capture or recreate liminal moments of my life into words that are physical, measurable in a sense, and therefore create presence, inviting readers through the threshold of my literary house out of the liminal abyss. These 36 pages of poetry contain liminal subject matter, whether embodying sexuality, relationships, spirituality, or moments bordering life and death, but always the inestimable line between two things.Department of English
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Chester, Thomas J. "Hard soled shoes : a poetry collection." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313071.
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Hard Soled Shoes is a collection of poetry designed to appeal to several, specific audiences. The first audience consists of: other poets, creative writers, and literary critics. I have submitted a work drawn from the life experience of a 42 year-old man. I crafted the poems with the academic learning gained from a graduate study of poetry and creative writing. My graduate education has helped me recognize a higher and broader standard in the realm of poetry. It also enabled me to refine my own style of writing; a comfortable mix of song lyrics and image-rich writing.Another group I hope to reach with this collection is a segment of readers who have a limited knowledge of poetry. I feel it is important to reach out beyond the academic community to a broader audience. There are many people outside academia who can appreciate and enjoy good poetry. I chose many poems for this collection that are accessible and relevant to people of many backgrounds, interests, and demographics. The use of humor, meter, rhyme, and familiar characters give the pieces understandable "hooks" to draw the attention of readers. The inclusion of song lyrics and musical devices like refrains bring a familiarity to readers who only have experience of poetry through popular music.My intent is to use simple and clear language to express more complex ideas. Hopefully the depth of subject matter will entice readers to re-read certain pieces and consider new ideas. The use of repetition and rhyme will hopefully bring focus and power to certain poems and create at least a few memorable or quotable lines from the collection.I believe a poetry collection can be an artistic endeavor and still have a broad entertainment appeal. My education has prepared me to recognize and write quality, literary poetry suitable for publication. My years of experience producing creative ideas for media and advertising have made me aware of the challenges of trying to reach a vast audience. I see a hole in the media market. I believe good, accessible poetry could fill a void and successfully satisfy the needs of a specific, literary niche.Department of English
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Higgins, Eric W. "The observing ape : poems." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1365515.
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The poems in The Observing Ape are arranged into three chapters: "Neighbors," "Making," and "Strangers." At their core, these poems trace the ways in which speakers internalize the exterior world. Although no single narrative unifies the collection, each poem records the consciousness of a speaker as the interior and the exterior intersect. Through persona poems and intensely perceived images, the collection strives to understand how humans learn, observe, and imagine. However, forays into visual art, primatology, and voyeurism color the poems with cultural referents, and these referents infuse the poems with a quirky reverence for a world that stretches beyond a strictly linguistic or personal experience.Department of English
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Sutter, Sara. "The Sea Cow and The Siren." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/1346.
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Fraser, Lilias. "The dream state : making, reading and marketing contemporary Scottish poetry." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14912.
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This thesis investigates aspects of the writing, reading, and marketing of contemporary Scottish poetry, suggesting that readers of contemporary poetry are influenced in their reading by marketplace forces as well as by their early academic training. The thesis attempts to reflect this combination of influences on the reader, but it also seeks to reflect the awareness of these influences in the poets' work. The Dream State concentrates on factors which condition the reading of contemporary Scottish poetry, and on some of the poetry of seven poets who became established in the 1990s: John Burnside, Robert Crawford, W. N. Herbert, Tracey Herd, Kathleen Jamie, Don Paterson and Robin Robertson. Alert to the political climate of Scottish devolution and to a literary climate which saw the simultaneous appearance of the anthology Dream State: The New Scottish Poets and the 1994 New Generation poetry promotion, the thesis examines the pressures of expectation on these Scottish poets writing in English and Scots during the 1990s. The thesis argues that the complexity of their poems and jobs as poets in this period is best understood by 'thinking together' (Steven Connor) the principles of Practical Criticism and publishing history's approach to literature in the marketplace; I draw on research fi-om a combination of critical sources in literary theory and criticism, book history and interviews/correspondence with poets, teachers and the booktrade. Chapters describing critical narratives which can pre-empt reading - the theoretical spaces of contemporary Scottish poetry, the origins of Practical Criticism, and academic/commercial expectations of the reader - are followed by chapters on the work of these seven poets. Chapter 4 examines longer poems as a reflection of the poets' concerns about personal and national identity, and Chapter 5 discusses the poets' exploration of their social and literary environments. The Conclusion discusses the significance of what I term the museum poem and of anthologies of twentieth-century Scottish poetry, drawing on Walter Benjamin's Arcades Project for an appropriate model of contemporary reading.
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Brox, Robin F. "Tinsel Strength and the Orchid Sheaf." Fogler Library, University of Maine, 2005. http://www.library.umaine.edu/theses/pdf/BroxR2005.pdf.
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France, Angela. "Hide : a 21st century woman's response to the first person in poetry." Thesis, University of Gloucestershire, 2015. http://eprints.glos.ac.uk/3871/.
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This thesis, titled ‘Hide: A 21st century woman’s response to the first person in poetry’ is a creative and critical examination of the challenges and benefits of the first-person approach in poetry. It is in two parts, consisting of a collection of sixty poems and a critical investigation into the research leading to, and engendered by, the poems. Hide is a place from which to observe, hide is skin, hide is deliberate concealment; all of these meanings can be seen to reflect some of the concerns examined in both the creative and critical parts of the thesis. ‘Hide’s’ layers of meaning directly engage with what 'I' we choose to conceal and what 'I' we choose to show, as well as residing on the boundaries between privacy and exposure. The poems spring from investigations of my central concerns of autobiography, family history, the workings of memory, and ancestral knowledge in the form of ‘cunning’. The poems are an active investigation into the challenges and benefits of the ‘I’; the approaches and techniques for using it as well as the reasons for, and strategies involved in, avoiding the ‘I’. The critical part of the thesis is an auto-ethnographic study of the poems in the collection, together with examination of the difficulties faced by women writing in the first-person. The research includes thematic analysis of published reviews, and examination of the critical landscape within which women are writing.
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Quintanilla, Octavio. "Love Poem with Exiles." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28465/.
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Love Poem with Exiles is a collection of poems with a critical preface. The poems are varied in terms of subject matter and form. In the critical preface, I discuss my relationship with poetry as well as the idea that we inherit poems, and that if we are inspired by them, we can transform them into something new.
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Mendoza-Kovich, Theresa Fernandez. "Representations of Scotland in Edwin Morgan's poetry." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2157.
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This thesis is an examination of the poetry of Edwin Morgan. It is a cultural analysis of Morgan's poetry as representation of the Scottish people. Morgan's poetry represents the Scottish people as determined and persistent in dealing with life's adversities while maintaining hope in a better future.
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Oeding, Carrie A. "Nobody Knows What to Say." Ohio University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1178651332.
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Oprava, David E. "Once America : 50 expats, 50 interviews, 50 poems." Thesis, Swansea University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678534.
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Myers, Jeffrey Alan. "A rebirth of sight : a book of poems." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285588.
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The following project is representative of both my struggles and achievements as a student of creative writing. The poems contained within were developed through a virtual restructuring of my creative process. With the exception of one sonnet and two haiku poems, the remaining creations are free-verse experiments, heavily influenced by the works of James Wright, Robert Bly, and Robert Creeley. My goal for each poem was to connect the verse with those rare and fleeting moments in life that are often overlooked. In order to achieve this goal, I had to venture a little deeper into the realm of both imagination and possibility, without, of course, completely letting go of reality. Essentially, each poem explores two distinct worlds: that which is contained in the heart and that which the heart can never attain.Department of English
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Maahlamela, David wa. "The hoof-printed rock." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013076.
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Many of these poems, although written in English, are inspired by Sepedi idioms and proverbs. Some invoke township and village life, others the observations and questions that come from writing poetry and experiences of travelling to different countries to read my poems. Others dwell on the political transformation in South Africa, or its absence, and on my own spiritual transformation.
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Dowdy, Michael Wagner-Martin Linda. "From printed page to live hip hop American poetry and politics into the 21st century /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,194.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2006.Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of English in the Department of English." Discipline: English; Department/School: English.
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Madrid, David G. C. "In Search of Elysium: Spanish Poetry of Difference at the Dawn of the 21st Century." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1468574822.
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Elfyn, Menna. "Barddoniaeth Menna Elfyn : pererindod bardd." Thesis, University of Wales Trinity Saint David, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683377.
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Burke, Victoria Elizabeth. "Women and seventeenth century manuscript culture : miscellanies, commonplace books, and song books compiled by English and Scottish women, 1600-1660." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338746.
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Parry, Abigail. "Spook and the Jewel Thief & The Polyvalent Plaything : three forms of play in 20th and 21st century poetry." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12303/.
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This thesis identifies and explores three forms of play in poetry: specifically, the ‘interred’ (or etymological) pun, the hypogram, and the manipulation of what Johnson terms discordia concors, or harmonious discord. The precise mechanics of each are scrutinized with close readings of the work of Geoffrey Hill, Paul Muldoon and Jen Hadfield. Extrapolating from these analyses, the behaviour and potential uses of play are examined more broadly in relation to formal play, sonic play, punning, and oppositional texturing. It will be shown that the more ludic a poem, the greater the risk that it will turn in on itself; the anatomy of the poem is therefore compared to its etymological counterpart, the riddle. The thesis concludes that play, in this context, should be viewed as a fundamentally telic activity. The forms of play examined all function as what may be termed a contrivance of coincidence; successful contrivance behaves surprisingly algorithmically, and sensitivity to its mechanics means that play may be put to poetic purpose. A collection of poems – Spook and the Jewel Thief – is submitted in support of this thesis, and demonstrates some of the ways in which play may be deployed.
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Bourbeau, Catherine. "The migration of Scots to Québec : Montreal's Scottish public community and the formation of identities, from the 18th to the 21st century." Thesis, University of Aberdeen, 2010. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=158356.
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This study examines Scottish migration to Quebec and more particularly to Montreal. It studies the public community the Montrealers of Scottish origin or heritage have developed, focusing on members of Scottish associations and interest-based groups and examining how their identities have been shaped in the city, from the eighteenth century to the present day. Using historical and anthropological concepts, methods and sources, it places Scots within the history and anthropology of the city and of the province, and examines the distinctive case of Quebec within the wider Canadian Scottish diaspora. The thesis first examines Scottish migration to Quebec and to Montreal between the eighteenth and the late twentieth century by studying the push and pull factors involved, and by exploring Scottish migration at both ends of the migration process. A key finding is that, in the Canadian context, Quebec and Montreal have attracted an atypical type of Scottish migrant; semi-skilled, and skilled workers of urban, industrial Lowland origin. The thesis then examines key Scottish associations of the city. Firstly, it focuses on the Saint Andrew’s Society, founded by Montreal’s Scottish elite, which aimed to establish rules to guide the rest of the Scottish population in the city, to create a strong community and, ultimately, to disseminate its values and ideas within the host society. Secondly, the thesis examines the Sons of Scotland Benevolent Association, arguing that, by the turn of the twentieth century, Scottish workers had gained their autonomy from the elite and had developed their own socio-cultural institutions and modes of charitable support and assistance. The last part of the thesis examines the identities of members of the contemporary Scottish public community of Montreal. It discusses the main factors that contribute to the social and cultural shaping of these people’s identities.
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Woudstra, Ruth. "Touching Brýnstone." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1015032.
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Touching Brýnstone is the story of Beth, a young journalist who is troubled by misfortunes in her family and work circumstances. In a Pretoria library she is seduced by a book that consoles her and progressively becomes a fetish object. It sparks a journey to Japan, where she arrives to teach English. She is intent on meeting the author, whom she confounds with protagonist and book. This Bildungsroman is an exploration of the complex relationship between inner and outer self, and the struggle towards wholeness. Beth must find a way out of the obsession so that she can return to South Africa with an enriched insight into her shadow self.
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McCracken, Michael. "Lowest of the Low: Scenes of Shame and Self-Deprecation in Contemporary Scottish Cinema." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9804/.
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This thesis explores the factors leading to the images of self-deprecation and shame in contemporary Scottish film. It would seem that the causes of these reoccurring motifs may be because the Scottish people are unable to escape from their past and are uneasy about the future of the nation. There is an internal struggle for both Scottish men and women, who try to adhere to their predetermined roles in Scottish culture, but this role leads to violence, alcoholism, and shame. In addition, there is also a fear for the future of the nation that represented in films that feature a connection between children and the creation of life with the death of Scotland's past. This thesis will focus on films created under a recent boom in film production in Scotland beginning in 1994 till the present day.
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Yu, Liwen, and 余麗文. "Politicizing poetics: the (re)writing of the social imaginary in modern and contemporary Chinese poetry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42841628.
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Hogge, Quentin Edward Somerville. "Portfolio." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001813.
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My initial intention is to try to show how, as a poet in South Africa, I suffer from a creative identity crisis. I am a white English-speaking male. I live surrounded by isiXhosa-speaking people. Is my poetry, or will my poetry be, relevant in the ‘New’ South Africa? Is English, the language of the colonial oppressors, the appropriate medium in the post-apartheid milieu? Will my subject matter be relevant? These questions and my attempts at answering them, form the basis of the poetry and the portfolio that accompanies the poems. My absorption with finding a creative ‘voice’, my concerns with the environment and a questioning of what post-apartheid poetry should write about all seem a bit Quixotic, especially to me! But at another level, they are deeply serious. (p. 5.)
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Ersoy, Ersev. "Social reality and mythic worlds : reflections on folk belief and the supernatural in James Macpherson's Ossian and Elias Lönnrot's Kalevala." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7842.
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This thesis investigates the representation of social reality that can be reflected by folk belief and the supernatural within mythic worlds created in epic poetry. Although the society, itself, can be regarded as the creator of its own myth, it may still be subjected to the impact of the synthesized mythic world, and this study seeks to address the roles of the society in the shaping of such mythic worlds. The research is inspired by an innovative approach, using James Macpherson’s Ossian (1760-63) and Elias Lönnrot’s Kalevala (1835-49) as epic models that benefit from mythical traditions. Through the examination and the comparison of these two epic collections, both of which seem to have a close association with social reformation and restructuring, the study explores the universality of human nature. It also reveals the extent mythic worlds may exhibit the ‘realities’ of their source-societies and how mythical tradition may become a reflection of a society’s transforming past modes of thinking. Moreover, the study devotes special attention to the influence of mythic heritage on national awakening and the construction of national identities. The research treats Macpherson as the re-inventor of Gaelic oral tradition with his Ossian, where he portrays a Romanticized image of a gallant past according to the norms of the eighteenth century. Therefore, the mythic world of the epic can be seen as a combination of an ancient heroic past and the aesthetic refinement of a polished age. In this framework, as the product of a society going through a transition period from traditional to modern, Ossian seems to reflect the society’s changing world-view, both celebrating, and mourning for a culture on the verge of extinction. Focusing on the Kalevala, the study analyzes its portrayal of Finnish folk belief. The Kalevala, like Ossian, is an attempt to recover ancient tradition, which seems to revolve around supernatural and divine elements, with hopes to establish a common social reality. It is an expression of Finnish language, belief and culture, whose production was prompted by the looming Finnish nationalism. Therefore, the evolving mode of thought represented in the mythic world of Kalevalaic poems, is expected and favoured by the society, enabling the epic to encourage a social reformation.
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Rawlins, Isabel Bethan. "Counting planes." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001816.
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This collection of prose-poems and flash fiction, together with a few short stories, shows how romantic relationships colour our perspectives on the world. The collection has echoes throughout of speakers' voices, theme, imagery and tone. There is a narrative logic too, but working on a subtle level of echo and resonance
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Ntabajyana, Sylvestre. "Planting season." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1002014.
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In this thesis I present a collection of semi-narrative poems about a rural Africa that is a place of folk-lore and tradition, but also a place of otherworldly, almost grotesque, incident. My characters are, similarly, range in type, from buskers, to guards, school-children, paupers and tycoons. Through the work a place that is both familiar and unknown, common-place and mysterious, emerge.
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Lee, Bethany Tyler. "The Museum of Coming Apart." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11000/.
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This dissertation comprises two parts: Part I, which discusses use of second person pronoun in contemporary American poetry; and Part II, The Museum of Coming Apart, which is a collection of poems. As confessional verse became a dominant mode in American poetry in the late 1950s and early 60s, so too did the use of the first-person pronoun. Due in part to the excesses of later confessionalism, however, many contemporary poets hesitate to use first person for fear that their work might be read as autobiography. The poetry of the 1990s and early 2000s has thus been characterized by distance, dissociation, and fracture as poets attempt to remove themselves from the overtly emotional and intimate style of the confessionals. However, other contemporary poets have sought to straddle the line between the earnestness and linearity of confessionalism and the intellectually playful yet emotionally detached poetry of the moment. One method for striking this balance is to employ the second person pronoun. Because "you" in English is ambiguous, it allows the poet to toy with the level of distance in a poem and create evolving relationships between the speaker and reader. Through the analysis of poems by C. Dale Young, Paul Guest, Richard Hugo, Nick Flynn, Carrie St. George Comer, and Moira Egan, this essay examines five common ways second person is employed in contemporary American poetry-the use of "you" in reference to a specific individual, the epistolary form, the direct address to the reader, the imperative voice, and the use of "you" as a substitute for "I"-and the ways that the second-person pronoun allows these poems to take the best of both the confessional and dissociative modes.
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Nolutshungu, Simphiwe. "Sunrays in a chilly winter." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017777.
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In both my English and IsiXhosa poetry, my themes are love, politics, and the social issues of rural communities, and include my own life experiences, both good and bad. My poems are mainly short narrative accounts of township life. Although they do have a broad educational purpose, they do not preach to the reader. In IsiXhosa, my poetic forms are influenced by the works of J J R Jolobe, W N Mbovane, P T Mtuze, and my English poems by Pablo Neruda, Mafika Pascal Gwala, Garcia Lorca and others.Intliziyo yona izimele gxebe ifihlakele Iyimfihlo, kumagumbi omphefumlo. Iyafunxa, ifukame kulo magumbi amxinwa. Iingcango, mba! Zivaliwe! Maxa wambi zide zixel’ isisila senkukhu, sona sibonwa mhla ligquthayo. Vul’ amehlo ubaz’ iindlebe uchul’ ukunyathela. Yiza ndikubambe ngesandla, sivul’ iingcango! Masivul’ iingcango zentliziyo yam, sikrobe ngaphakathi! Masithi ntla‐ntla kumagumb’ amathathu kuphela! Masithi ntla‐ntla, kwelepolitiki yakwaXhosa, Kaloku nam ndingumXhosa! Masithi ntla‐ntla kwelifukame, i.z.i.x.i.n.g.a.x.i n.o.b.u.n.c.w.a.n.e. b.o.t.h.a.n.d.o, kaloku nam ndinemithamb’ ebalek’ igaz’ eliqhumayo! Ucango lokugqibela lukungenisa kwigumbi elinezidl’ umzi, Kaloku nam ndizalwa kulo mzi wakwaXhoooooosa!
This thesis is presented in two parts: English and isiXhosa.
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Van, der Nest Megan. "Silence, like breathing." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1015246.
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In this collection of free verse lyric poems I have drawn inspiration from childhood memories, as well as from the natural world and encounters with the people around me. Each poem focuses on a small moment, presenting an emotive portrait of a memory or an experience. These small moments lead, cumulatively, to deeper insights into myself and the world around me. The collection is divided into four seasons, in part because the work is strongly influenced by the natural world, but also because the progression of the seasons mirrors something of the personal journey reflected in the poems.
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Gaunt, Hailey Kathryn. "Who knew." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001812.
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This book of poems ranges in style from narrative to condensed lyric moment, and shifts in perspective from observation to introspection. Thematically, these poems explore everyday life through its many manifestations – memory, nature, marriage, faith and death – with an emphasis on finding meaning in absolutely ordinary things. Though their tone is often vulnerable and tender, even when it is more distant the poems are always searching.
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O'Connor, Clémence. "'Pour garder l'impossible intact' : the poetry of Heather Dohollau." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/791.
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Garrard, Suz. "Manufacturing selves : the poetics of self-representation and identity in the poetry of three 'factory-girls', 1840-1882." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/11578.
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This thesis is a transatlantic examination of self-representational strategies in factory women's poetry from circa 1848-1882, highlighting in particular how the medium of the working-class periodical enabled these socially marginal poets to subjectively engage with and reconfigure dominant typologies of class and gender within nineteenth-century poetics. The first chapter explores how working-class women were depicted in middle-class social-reform literature and working-class men's poetry. It argues that factory women were circumscribed into roles of social villainy or victimage in popular bourgeois reform texts by authors such as Elizabeth Barrett Browning and Caroline Norton, and were cast as idealized domestic figures in working-class men's poetry in the mid-nineteenth century. The remaining three chapters examine the poetry of Manchester dye-worker Fanny Forrester, Scottish weaver Ellen Johnston, and Lowell mill-girl Lucy Larcom as case-studies of factory women's poetics in mid-nineteenth century writing. Chapter Two discusses the life and work of Fanny Forrester in Ben Brierley's Journal, and considers how Forrester's invocation of the pastoral genre opens new opportunities for urban, factory women to engage with ideologies of domestic femininity within a destabilized urban cityscape. Chapter Three considers the work of Ellen Johnston, “The Factory Girl” whose numerous poems in The People's Journal and the Penny Post cross genres, dialects, and themes. This chapter claims that Johnston's poetry divides class and gender identity depending on her intended audience—a division exemplified, respectively, by her nationalistic poetry and her sentimental correspondence poetry. Chapter Four explores the work of Lucy Larcom, whose contributions to The Lowell Offering and her novel-poem An Idyl of Work harness the language and philosophy of Evangelical Christianity to validate women's wage-labor as socially and religiously appropriate. Ultimately, this thesis contends that nineteenth-century factory women's poetry from Britain and America embodies the tensions surrounding the “factory girl” identity, and offers unique aesthetic and representational strategies of negotiating women's factory labor.
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Cooley, Shevaun. "Homing : poetry ; &, An essay on the poetic leap in the late work of R.S. Thomas." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/850.
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Homing, as a collection, speaks to the capacity and yearning to navigate our way towards something we might call home. In animal behaviour, this seems like an instinct, hard-wired to the body. It is something I envy. By comparison, the instinct, in human behaviour, feels muffled and complicated.
These poems move between two places in which I feel ‘at home’, whatever that means: the south-west of Western Australia, where I was born and raised, and the north-west of Wales, where I lived for a time, and find myself returning to, drawn not by blood, but by longing, and a deep affinity for the landscape. Without any real intention, in the writing of the poems I found I had a lot to say about rivers. In particular, I found myself repeating images of drifting and gripping, as if these two, opposing, compulsions also said something about how we try to find our way home. The poet Mark Doty speaks of a “fierce internal debate between staying moored and drifting away, between holdings and letting go.”1 It is as if the river, too, knows something of how to arrive, and yet its movement is much like that of these poems, pulled by new hungers, at times distracted, or slowed, or apparently lost. Drift. Grip. Perhaps it is, after all, another kind of instinct.
In the critical essay that accompanies the poems, I look at the poetic leap in the work of the Welsh poet and priest R.S. Thomas. I was initially compelled by a strange parallel between an actual physical leap of escape, enacted by Thomas, who leapt a graveyard wall in order to avoid speaking to the mourners to whom he had just ministered a funeral service, and the leap found in Italo Calvino’s essay on lightness. This leap is also one of escape, in which the poet-philosopher Guido Calvcanti places a hand on a grave and leaps lightly over it, in order to elude the taunts of some local louts. Calvino calls this act, “an auspicious image for the new millennium.”2
In poetry we find the leap in the act of making metaphor, in enjambment, even in a kind of concentration. In Thomas’s work, the leap is focused in the form of the raptor; a presence repeated through his oeuvre, carrying with it many of his chief concerns, about God, love, and the inherent ferocity of the natural world. In a close reading of those poems, and with the aid of thinkers as disparate as Helene Cixous, Roland Barthes, Simone Weil and Edward Said, this essay is an attempt to trace the ways the leap works in Thomas’s poetry. It is also an attempt to analyse and understand the way poetry itself works to move the reader, in all senses of the word.
1Doty, M. (2001). Still life with oysters and lemon. Boston: Beacon Press, p.7
2Calvino, I. (2009). Six memos for the new millennium. (P. Creag, Trans.) London: Penguin Classics, p.12
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Beyers, Marike. "How to open the door." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1011502.
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A collection of mostly lyrical poems. The poems explore moments of experience and thought relating to longing and belonging, in terms of relations, memory and place. The poems are mostly short and intense. Silence and implied meanings are often as important as what is said; shadows are evoked to recall substance. Though short, the poems are not tightly closed – on the contrary, meanings proliferate in the process of exploration
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Vivier, Lincky Elmé. "One leg at a time." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1012945.
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This collection of poems explores the boundaries between certainty and uncertainty, between the desire for meaning and the destabilisation of meaning. The content encompasses everyday life, love and loss, and the ambiguities are reflected in the forms used, so that, for instance, the linear continuity of narrative and the musicality of the lyric may be juxtaposed with the fragmented and imagistic leaps of the associative poem.
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Bila, Freddy Vonani. "Grieving forests." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1020880.
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This is a collection of village narrative poems mainly set in rural Limpopo that searches into the complexity of the past and how historical events impact on the present. Although the poems are imagined along the Marxist dialectic, they’re fresh imaginative creations featuring a strong element of surprise, spiritual mysticism, experimenting with form, delving into unknown poetic avenues, creating new music, exploring new sounds and taking risks. The long and intense poem, Ancestral wealth, which is a tribute to the poet’s father, reflects on death and its impact through the effective application of various stylistic elements and poetic devices, thus immortalising the life of a rural South African. Overall the poems, including retrospective and experimental ones, condemn the free market economic system and all that it seems to necessitate: the degradation of ecology, indifference to human suffering and the alienation of vulnerable social groups.
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Bamjee, Saaleha. "My grandmother breaks her hip." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1020881.
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A collection of narrative and confessional poems. The poems are mostly short, cinematic, physical, imagistic: moments in time. They explore the poet’s own life, body, memories, and family relationships, and the tensions between power, duty, love and faith. Several poems concern the navigation of meaning and belonging in a time when international urban culture often clashes with tradition.
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Dennison, John. "Seamus Heaney and the adequacy of poetry : a study of his prose poetics." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3026.
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Seamus Heaney's prose poetics return repeatedly to the adequacy of poetry, its ameliorative, restorative response to the inimical reality of life in the public domain. Drawing on manuscript as well as print sources, this thesis charts the development of this central theme, demonstrating the extent to which it threads throughout the whole of Heaney's thought, from his earliest conceptual formation to his late cultural poetics. Heaney's preoccupation with this idea largely originates in his undergraduate studies where he encounters Leavis and Arnold's accounts of poetry's adequacy: its ameliorative cultural and spiritual function. He also inherits, from Romantic and modernist influences, two differing accounts of poetry's relationship to reality. That conflicted inheritance engenders a crisis within Heaney's own early theorisation of poetry's adequacy to the violence of public life. An important period of clarification ensues, out of which emerge the dualisms of his later thought, and his emphasis on poetry's capacity to encompass, and yet remain separate from, ‘history'. Accompanied by habitual appropriation of Christian doctrine and language, these conceptual structures increasingly assume a redemptive pattern. By the mid-1990s, Heaney's humanist commitment to a ‘totally adequate' poetry has assumed a thoroughly Arnoldian character. The logical strain of his conceptual constructions—particularly the emphasis on poetry's autonomy from history—becomes acutely apparent, revealing just how appropriate the ambivalent ideal ‘adequacy' is. The subsequent expansion of Heaney's poetics into a general affirmation of the arts illuminates the fiduciary character of his trust in poetry while exposing the limits of that trust: Heaney's belief in poetry's adequacy constitutes a humanist substitute for—indeed, an ‘afterimage' of—Christian belief. This, finally, is the deep significance of the idea of adequacy to Heaney's thought: it allows us to identify precisely the Arnoldian origin, the late humanist character, and the limits of his troubled trust in poetry.
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Sullivan, Louella. "Bitten." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017778.
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My poetry investigates the extraordinary in the everyday, exploring my life as a mother and wife, to find the quiet truths that lie there. Using fresh ways of describing familiar experiences, the poems describe tiny, almost-missed moments and voices that have shaped me. Throughout the collection, I imagine my younger selves commenting on my current self and vice versa. Ultimately, my poems use simple words and clean lines to evoke how I feel (and how I want the reader to feel) in each of the moments they describe.
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Watermeyer, Laura. "The gentle pressure of the sky." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017780.
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A collection of lyrical, imaginative prose, ranging from prose poems to more formal short stories to flash fiction. I challenge the ordinary or commonplace by exploring the realms between fiction and poetry, realism and fantasy, reality and illusion. I would like reading the collection to be a sensory experience, one that draws the reader deeper into the imaginary. Stylistically, I work elements of poetic language into the narrative in order to express the mystery and remoteness that the stories require.
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Satorras, Pons Alícia. "La piel y la piedra. Una poética de la incertidumbre en la poesía de Guillermo Carnero." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/668076.
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Esta investigación traza un perfil de la obra del poeta y ensayista Guillermo Camero que explica su esencial poética de la incertidumbre como origen y fin de su escritura poética. Nos encontramos ante una poética que se sustenta sobre la voluntad de conocimiento, un ejercicio de objetivación que arranca de la más humana y profunda voluntad de nombrar el universo pero en el que la duda ya no constituye un simple estadio hacia la certidumbre según regía el paradigma positivista sino que deviene la materialización de un deseo abstracto de verdad. La actitud escéptica del poeta germina en el marco de una sensibilidad posmodema que radica en la crisis de la identidad concebida en términos ontológicos que se hace patente en aspectos diversos, complementarios y complejos. Su poesía es reflejo de la crisis de la referencialidad entre mundo y palabra, del consecuente derrumbe de los sistemas ideológicos, del desvanecimiento de los límites identitarios con que la mirada positivista definía el individuo y el mundo, de la correlativa indefinición entre creador y creación, tan propia del fenómeno culturalista, y de la consiguiente fragmentación de índole fenomenológica de que es objeto el mundo posmodemo. En definitiva, del nacimiento de una mirada escéptica que de ningún modo anula el concepto de verdad sino que lo convierte en la quimera que explica la esencial búsqueda de sentido y que hace de la razón el más genuino motor de la expresión literaria. De forma coherente, a la luz de ciertas problemáticas en tomo a las máscaras estéticas del surrealismo y del simbolismo, veremos cómo la emoción es insoslayable de la razón, cómo el relativismo mal entendido constituye un prejuicio devastador, cómo el mito de la ruptura resulta ser un absurdo y cómo la realidad artística puede constituirse como la más vívida de las experiencias.This research traces a profile of the work of the poet and essayist Guillermo Camero explaining his essential poetic of uncertainty as the origin and end of his poetic writing. We are faced with a poetic that is based on the will of knowledge, an exercise of objectivation that starts from the most human and profound will to name the universe but in which doubt no longer constitutes a simple stadium towards certainty as governed by the positivist paradigm but it becomes the completion of an abstract desire far truth. The sceptical attitude of the poet germinates in the context of a postmodem sensibility that comes from an identity cns1s conceived in ontological terms, which is evident in diverse, complementary an complex aspects. His poetry reflects the crisis of reference between world and word, the consequent collapse of the ideological systems, the fading of the identity boundaries with which the positivistic gaze defined the individual and the world, of the correlative vagueness between creator and creation, so typical of the culturalismo phenomenon, and the consequent fragmentation of phenomenological nature that the postmodern world is subject to. In short, the birth of a sceptical look which does not nullify the concept of truth but makes it the Chimera that explains the essential search for meaning and makes reason the most genuine engine of literary expression. In a coherent way, in the light of certain problems around the aesthetic masks of surrealism and of symbolism, we will see how emotion is unavoidable of reason, how misunderstood relativism constitutes a devastating prejudice, how the myth of rupture tums out to be absurd and how artistic reality can be the most vivid of experiences.
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Temperton, Barbara. "The Lighthouse keeper's wife, and other stories (novel) ; and Ceremony for ground : narrative, landscape, myth (dissertation)." University of Western Australia. English, Communication and Cultural Studies Discipline Group, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0005.
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The focus of this project is on poetry, narrative, landscape and myth, and the palimpsest and/or hybridisation created when these four areas overlay each other. Our local communities' engagement with myth-making activity provides a golden opportunity for contemporary poets to continue the practice long established by our forebears of utilising folklore and legendary material as sources for poetry. Keeping in mind the words of M. H. Abrams who said
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Cardoso, Silvia Helena dos Santos. "Estrada, paisagem e capim - = fotografias e relatos no Jalapão." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284439.
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Orientador: Luise WeissA biblioteca do IA acompanha 2 DVD-R
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-19T02:45:00Z (GMT). No. of bitstreams: 1 Cardoso_SilviaHelenadosSantos_D.pdf: 204143936 bytes, checksum: 8684d797a1436e3233a9c041032a67bb (MD5) Previous issue date: 2011
Resumo: Estrada, Paisagem e Capim - Fotografias e Relatos no Jalapão é uma pesquisa em Poética Visual constituída por viagens - como deslocamento e experiência estética - ao cerrado jalapoeiro, no interior do Estado do Tocantins. A fotografia digital e as anotações se constituem como expressão e desenvolvimento do percurso processual do trabalho realizado. As referências teóricas e visuais contaram com a Antropologia como essência, metodologia e inserção no campo de pesquisa e a Arte como espaço de reflexão e criação para o caminho poético. Diferentes questionamentos surgiram ao longo do desenvolvimento do fazer artístico e acabaram por delimitar o trabalho. Nesta pesquisa, arte, natureza e cultura tornam-se pares no processo de registro e percepção da intuição criativa fotográfica, enfatizando assim, o caráter de "work in progress". Um Livro de Fotografias e um DVD sonorizado com 170 imagens são apresentados como processo e resultado do trabalho poético
Abstract: Road, Landscape and Grass - Photographs and Reports in the Jalapão is a research in Poetic Visual consisting of travels - such as displacement and aesthetic experience - to the brazilian savannah, in the State of Tocantins/BR. The digital photography and the written summary notes are as expression and development of the proceedings of the visual work done. The theoretical and visual references counted with the Anthropology as well as essence, methodology and insertion in the field of research, and the Art to be a space for reflection and creation for the poetic way. Different questions have arisen in the course of the development of artistic making and ultimately define the work. In this research, art, nature and culture have become parts in the process of registration and perception of the creative intuition photographic, emphasizing the character of "work in progress". A book of photographs and a DVD with sound and 170 images are presented as a process and outcome of the research poetic
Doutorado
Artes Visuais
Doutor em Artes
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Dekavalla, Marina. "General elections in the post-devolution period : press accounts of the 2001 and 2005 campaigns in Scotland and England." Thesis, University of Stirling, 2009. http://hdl.handle.net/1893/2301.
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This thesis examines and compares newspaper coverage of the first two general elections after Scottish devolution, looking at both the Scottish and English/UK press. By considering the coverage of a major political event which affects both countries, it contributes to debates regarding the performance of the Scottish press within an arguably distinct Scottish public sphere as well as that of the press in England within a post-devolution context. The research is based on a content analysis of all the coverage of the 2001 and 2005 elections in seven Scottish and five English and UK daily morning newspapers, a critical discourse analysis of a sample of the coverage of the most mentioned issues in each campaign and a small set of interviews with Scottish political editors. As a framework for its analysis, this thesis focuses on theories of national identity and deliberative democracy in the media. It finds that the coverage of elections in the two countries has a similar issue agenda, however Scottish newspapers appear less interested in the UK aspect of the elections and include debates on Scottish affairs which are discussed in isolation, within an exclusively Scottish mediated space. These issues are constructed as particularly relevant to a Scottish readership through references to the nation, inclusive modes of address to the reader and the inclusion of exclusively Scottish sources, which contrast with the Scottish coverage of “UK” issues. This distinction between “Scottish” and “UK” topics emerges as the key differentiating factor in the discursive construction of election issues in the Scottish press, rather than that between devolved and reserved issues. Newspapers in England on the other hand, report on the two campaigns without taking into consideration the post-devolution political reality. These core questions are contextualized within the thesis by reference to relevant dimensions of Scottish culture and politics, and interpreted in the light of events since 2005.
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MacKenzie, Victoria R. "Contemporary poets' responses to science." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4058.
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This thesis considers a range of contemporary poets' responses to science, emphasising the diversity of these engagements and exploring how poetry can disrupt or re-negotiate the barriers between the two activities. My first chapter explores the idea of ‘authority' in both science and poetry and considers how these authorities co-exist in the work of two poet-scientists, Miroslav Holub and David Morley. My second chapter considers the role of metaphor in science and the effect of transferring scientific terms into poetry, specifically with reference to the poetry of Michael Symmons Roberts who engages with the metaphors related to the human genome. In my third chapter I focus on collections by Ruth Padel and Emily Ballou that tell the life of Charles Darwin in verse. I discuss how these collections function as forms of scientific biography and show that poetic engagement with Darwin's thought processes reveals some of the similarities between scientific and poetic thinking. An area of science such as quantum mechanics may seem too complex for a non-scientist to respond to in poetry, but in my fourth chapter I show how Jorie Graham uses ideas from twentieth-century physics to re-think the materialism of the world and our perception of it. My final chapter is concerned with the relationship between ecopoetry and ecological science, with regard to the work of John Burnside. I show that although he is informed about scientific matters, in his poetry he suggests that science isn't the only way of understanding the world. Rather than framing science and poetry in terms of the ‘two cultures', this thesis moves away from antagonism towards productive interaction and dialogue. Whilst science and poetry are clearly very different activities, the many points of overlap and connection between them suggest that poetry is a resonant and unique way of exploring scientific ideas.
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Clopés, Garrell Jordi. "Joan Brossa a l'aula: de la creació a la reflexió." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/672492.
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L’objectiu central d’aquest estudi ha estat conèixer si es pot enfocar l’ensenyament de la poesia des d’una metodologia que potenciï l’esperit crític i reflexiu dels alumnes. En concret, s’ha volgut observar si la lectura de la poesia de Brossa contribueix al desenvolupament del pensament crític dels alumnes de secundària. La qual cosa hem abordat des de la base de l’educació literària, del pensament crític i de la poesia experimental.
La investigació ha estat realitzada a tres grups de 4t d’ESO de dos instituts públics de secundària de la comarca del Maresme i inclou les respostes dels alumnes a partir de les seqüències didàctiques que se’ls han plantejat, dels qüestionaris i de les pautes d’avaluació. A més de l’observació a l’aula i de la realització de diaris per part del professorat. S’ha fet servir un enfocament qualitatiu de recerca-acció per recollir, generar i analitzar les dades.
Els resultats evidencien que la poesia brossiana fa reflexionar als alumnes ja que els permet expressar les seves opinions i també dona la possibilitat de formular preguntes que els generin dubtes sobre els diferents punts de vista que poden tenir. A partir de les deu categories d’anàlisi de les seqüències didàctiques, s’observa que almenys un grup de cada institut ha assolit uns resultats satisfactoris en la realització del treball encomanat.
A més, de les dades obtingudes també s’extreuen les característiques que ha de tenir un corpus poètic per tal que ajudi a fer pensar als alumnes: cal que sigui comprensible, engrescador, provocador, revelador (ha de permetre descobrir nous punts de vista), vinculable (ha de possibilitar l’establiment de relacions, comparacions i alternatives diverses), explorable i qüestionable.
Per últim, els resultats d’aquest estudi mostren que fomentar l’argumentació de la pròpia opinió és un acte educatiu molt rellevant ja que educar en el pensament crític passa també per demanar als alumnes que justifiquin el perquè de les seves pròpies idees, de les pròpies afirmacions, acceptant que les idees es poden modificar després d’escoltar el punt de vista de l’altre. I s’arriba a la conclusió, per tant, que es pot ensenyar la poesia mitjançant un enfocament didàctic que faciliti que els alumnes desenvolupin el raonament crític.The main objective of this study is to know whether the teaching of poetry can be approached from a methodology which develops critical and reflective thinking in students. Specifically, it has been analysed if the reading of Brossa’s poetry contributes to the development of critical thinking in secondary students. This has been addressed based on literary education, critical thinking and experimental poetry. The investigation has been performed in three 10th grade groups (4th of ESO) from two public high schools in the region of Maresme and it includes the answers of the students based on the teaching sequences that have been presented to them, the surveys and the assessment rubrics. In addition to the class observation and the realization of diaries by the teachers. A qualitative approach based on research-action has been used to collect, create and analyse data. The results demonstrate that Brossa’s poetry makes students ponder, since it allows them to express their own opinions and it also gives them the chance to ask questions that make them doubt about different perspectives they may have. From the ten categories of analysis of the teaching sequences, it can be appreciated that at least one group from each high school has reached satisfactory results in the realisation of the requested work. Furthermore, the characteristics that a poetry corpus needs to have in order to help students think can also be deduced from the obtained data: It must be comprehensible, exciting, stimulating, revealing (it has to allow the discovery of new perspectives), linking (it must make possible the establishment of relations, comparisons and different choices), questionable and that you can explore. Finally, the results of this study show that encouraging reasoning one’s opinion is a highly important educational act because educating in critical thinking also means asking students to justify the reason of their own ideas, their own statements, accepting that ideas can be changed after listening to the other one’s perspective. And therefore, it is concluded that poetry can be taught through an educational approach that makes students develop their critical reasoning easier.
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Ferriere, Tamara. "La construction de l'extraterritorialité chez Roberto Bolano : écriture de l'émigration et avant-garde." Thesis, Clermont-Ferrand 2, 2012. http://www.theses.fr/2012CLF20021.
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Cette thèse doctorale étudie le caractère extraterritorial de l’œuvre de Roberto Bolaño, laquelle est enrichie par le nomadisme de l’auteur (celui-ci ayant notamment vécu au Chili, au Mexique et en Espagne). Il représente l’image d’un écrivain déraciné du fait du découplage de ses textes vis-à-vis de sa terre natale. Ses personnages migrants semblent souvent désolidarisés de leur pays d’origine. Ils errent d’un continent à l’autre sans savoir où leurs périples s’achèveront. Nous verrons que l’expérience de l’exil, chez l’auteur, permet l’identification des relations qui existent entre l’œuvre, la société et le contexte historique. Bolaño met en lumière différents événements tels que des dictatures militaires et des guerres civiles, lesquels frappèrent l’Amérique Latine de 1960 à 1990. Il crée pour cela une sorte de tribunal littéraire. Cela permet à Bolaño d’évoquer les mémoires individuelle et collective, rappelant des instants douloureux à partir desquels le langage devient violent et désolant. Cette étude a aussi pour objet de chercher à dévoiler les éléments avant-gardistes qu’il intègre à son œuvre. Il tente de s’affranchir de toute norme et de s’opposer aux canons littéraires établis. Cela constitue un acte transgresseur qui lui permet d’effacer les frontières afin de construire de nouveaux espaces à travers son écritureThis doctoral thesis studies the extraterritorial nature of Roberto Bolaño’s writing,which is enriched by the nomadic life of the author (having lived in Chile, Mexico and Spain). He represents the image of a writer who has been uprooted an aspect which is reflected in the proportion of the text devoted to his native land. The migrant characters in his writings often seem disconnected from their countries of origin. They wander from one continent to another without knowing where their journey will end. We will see that the author’s experience of exile allows us to identify the links between Bolaño’sliterary works, society and the historical context. The author highlights different events such as military dictatorships and civil wars which occurred in Latin America between 1960 and 1990. He provides a sort of literary judgement on this period. This enables Bolaño to evoke individual and collective memories,recalling painful incidents, which give rise to violent and distressing language. In addition, this study attempts to unveil the avant-garde elements present in his literature. He attempts to go beyond every norm and to oppose himself to the established literary canons. This constitutes an act of defiance whic hallows him to erase the literary boundaries in order to give way to the creation of a new space through his literature
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Lacire, François. "Pas spécialement poétique : Dé-spécialisation de la poésie au tournant du 21ème siècle : à partir des oeuvres de Nathalie Quintane et Christophe Tarkos." Thesis, Valenciennes, Université Polytechnique Hauts-de-France, 2020. http://www.theses.fr/2020UPHF0002.
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La poésie parle de poésie ; les poètes parlent aux poètes. Ces évidences sont celles de la Modernité poétique, qui entérine à la fois les licences de la poésie, les missions du poète et leur cantonnement. Or, lorsque Nathalie Quintane, au dos de Chaussure (1997), écrit qu’elle entend « parle[r] vraiment de chaussure », et qu’il s’agit d’« un livre de poésie pas spécialement poétique, de celle qui ne se force pas », elle déclare s’émanciper du lieu spécifique du discours qu’a fini par désigner le nom « poésie ». Lorsque Tarkos, à de nombreuses reprises dans toute l’œuvre, affirme que la poésie est un discours de vérité et de clarification logique, d’exactitude restrictive, de pragmatisme et d’efficacité, de discernement, il lui assigne des taKches qui l’éloignent du canton du discours auquel une certaine tradition l’assigne. Tous deux diffusent et diluent la question épistémique propre de la poésie dans l’ensemble du champ épistémologique ; ils font du capharnaüm des discours spécifiques l’environnement de réception et l’échelle d’évaluation générale du discours poétique. Notre première partie propose le couple question-de-la-poésie / question-si-la-poésie pour caractériser le renouvellement, dans les années 90, du jeu des questions adressées à la poésie dans la Modernité. Notre seconde partie élargit les cadres de cette problématique : à l’échelle de la longue durée, interroger la pertinence de la poésie comme savoir, discours, licence, revient à interroger la légitimité du personnage du poète à savoir, à parler, à s’excepter. Dans un va-et-vient entre intrigue courte (Francis Ponge, Jean-Marie Gleize, Christian Prigent) et intrigue longue (Platon, les premiers sophistes, le Romantisme allemand, Heidegger), la thèse confronte son corpus aux spécifications traditionnelles de la poésie, aux licences plus ou moins empoisonnées qu’on preKte au « poème », aux privilèges plus ou moins exclusifs et excluants qu’on accorde au « poète ». Les œuvres de Quintane et Tarkos s’y révèlent particulièrement radicales : elles tendent à contester toute spécificité de la poésie, envisagée comme une activité publique et séculière (aux prises, comme tout discours, avec le courant de la langue), critique d’une division du travail discursif, et attentive à ne pas laisser se reconstituer, dans la référence persistance aux schèmes archaïque, classique, romantique, moderne, un clergé poétique en charge de dire la vérité de l’EYtre, de sonder les profondeurs de l’expérience, ou de relever le langage ordinaire de ses compromissions mondaines. Poésie ne désigne plus alors ni un lieu sur du discours, ni un non-lieu du savoir, mais une « pensée critique » (Quintane) que seules spécifient la méfiance devant toute spécialité et l’assomption conséquente de la condition idiomatique la mieux partagée : ne pas savoir ce qu’on va direPoetry talks about poetry; poets speak to poets. These have become self-evident tenets of a poetic modernity that has at once claimed a specific license for poetry and specific missions for the poet, and assumed their privileged isolation. When Nathalie Quintane writes on the back cover of Chaussure (“Shoe”, 1997) that “it really talks about shoes”, and that it is “a book of poetry that is not especially poetic, of a poetry that doesn’t force itself”, she emancipates herself from the specific locus of discourse that has come to be called “poetry”. When Christophe Tarkos affirms, on many occasions throughout his work, that poetry is a discourse of logical truth and clarification, of restrictive accuracy, of pragmatism and efficacy, as well as of discernment, he assigns tasks to it that remove it from the region of discourse to which it has long been assigned by so many traditions. Both Quintane and Tarkos diffuse and dilute the epistemic “question of poetry” (“la question de la poésie”, a very common phrase in French modernism) throughout the epistemological field ; they make the hodge-podge of all specific discourses into the general environment of reception and the general scale against which poetic discourse is measured. The first part of this thesis offers the coupling “question-of-poetry” / “question-if-poetry” as a way of characterizing the renewal, at the beginning of the 1990s, of the series of questions addressed to poetry in modernity. The second part broadens the scope of this problem: in the long-term, questioning the relevance of poetry as knowledge, discourse, and license amounts to questioning the character of the poet’s entitlement to know, to speak, and to make themselves into an exception. In a to-and-fro between a short plot (Francis Ponge, Jean-Marie Gleize, Christian Prigent) and a long plot (Plato, the sophists, German Romanticism, Heidegger), this thesis confronts the traditional specifications of poetry, the more or less poisoned kinds of license attributed to “the poem”, the more or less exclusive and excluding privileges granted to “the poet”, with the works of Quintane and Tarkos. From this perspective, the works of Quintane and Tarkos are radical : they tend to contest the attribution of any specificity to poetry (which they consider to be a public and secular activity that is subject to ordinary language), they are critical of the contemporary discursive division of labour, and strive to render impossible, by continual reference to archaic, classical, romantic, and modern schemas, the reconstitution of a poetic clergy in charge of telling the truth of Being, probing the depths of experience, or raising ordinary language out of its worldly compromises. Here, the word “poetry” no longer refers to a safe place of discourse or a non-place of knowledge, but to a kind of “critical thought” (Quintane) that is suspicious of any form of specialization, and assumes the same idiomatic condition as everyone : not knowing, as you start speaking, what you’re about to mean