Dissertations / Theses on the topic 'War poetry'
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Lancaster, Philip George. "The making of a poet : a scholarly edition of Ivor Gurney's poetry, 1907 to Armistice 1918." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/12162.
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Ivor Gurney (1890-1937) was equally gifted as a poet and a composer. While a very small number of pieces of juvenilia survive, arising from his passion for and immersion in literature, he began to write poetry following his enlistment as a soldier in the First World War. In this thesis I have prepared an edition of all of Gurney’s poetry from its beginnings until the Armistice on 11 November 1918. The edition of over two hundred poems incorporates 59 poems and fragments that have not previously been published. I have sought to present this body of poetry in chronological order, and with extensive textual notes and commentary, to chart the development of poems through all stages of draft to fnal poem. This has been made possible by an unprecedented detailed analysis of all Gurney’s manuscripts and a wholesale reorganisation of that extensive collection.
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Hodgson, Katharine Merwinna. "Russian Soviet war poetry 1941-45." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239076.
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Silva, Gelson Peres da. "W. H. Auden's inter-war poetry." Florianópolis, SC, 2008. http://repositorio.ufsc.br/xmlui/handle/123456789/91910.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura CorrespondenteMade available in DSpace on 2012-10-24T03:47:34Z (GMT). No. of bitstreams: 1 257997.pdf: 721944 bytes, checksum: b3ccc7d076706bdbd26778aa71933686 (MD5)
This dissertation focuses the historical context of the inter-war period in England and Wystan Hugh Auden#s poetry. Auden#s poetic work has been read, interpreted, analysed and criticised considering his biography, a form of reading that subtly differs from autobiography. I think that his texts are autobiographical pieces that denote the 1920s and 1930s social, cultural, economic and political changes through which England went. For this I analyse autobiographical traces in his poetry and his specific use of ambiguity that constitutes in my point of view a political strategy that shelters the author before the social censorship against homosexuals in that period of the English History. The poet disguises his subjectivity in masks or third person as a protagonist forced to behave performatively in order to survive in his society. The poems show individuals living in a conservative society and their impossibility to live a love relationship in its completion. Protected by ambiguity, the poet is able to keep a place in society free from the cruelties engendered against homosexuals who were considered subversive individuals in that epoch. Auden#s political use of ambiguity is thus a strategy to hide his homosexuality, what elicits his concern with gender matters. Moreover, the poems show the poet#s awareness towards social class. By bringing up gender and class, Auden#s inter-war poetics can contribute to gay, lesbian and queer studies as a form to show socio-cultural views of homosexuality and homosexuals# quotidian lives. Esta tese focaliza o contexto histórico do período entre-guerras na Inglaterra e a poesia de Wystan Hugh Auden. A obra poética de Auden tem sido lida, interpretada, analisada e criticada considerando-se sua biografia, uma forma de leitura que sutilmente difere de autobiografia. Eu penso que seus textos são peças autobiográficas que denotam as mudanças sociais, culturais, econômicas e políticas pelas quais a Inglaterra passou. Para isto, eu analiso os traços autobiográficos em sua poesia e seu uso específico da ambiguidade que se constitui em meu ponto de vista em uma estratégia política que protege o autor diante da censura social contra os homossexuais naquele período da História da Inglaterra. O poeta esconde sua subjetividade em máscaras ou em terceira pessoa como um protagonista forçado a comportar-se performaticamente a fim de sobreviver em sua sociedade. Os poemas mostram indivíduos vivendo em uma sociedade conservadora e sua [dos indivíduos] impossibilidade de viver relacionamentos de amor em sua completude. Protegido pela ambigüidade, o poeta é capaz de manter um lugar na sociedade, livre das crueldades engendradas contra os homossexuais que eram considerados indivíduos subversivos naquela época. O uso político da ambiguidade por Auden é assim uma estratégia para esconder sua homossexualidade, o que demonstra sua preocupação com questões de gênero. Além disso, os poemas mostram a consciência do poeta para com classes sociais. Ao abordar gênero e classe, a poética entre-guerras de Auden pode contribuir para os estudos gays, lésbicos e queer como forma de mostrar as visões sócio-culturais da homossexualidade e das vidas quotidianas dos homossexuais.
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Roi, Caterina <1992>. "Wilfred Owen: a new war poetry." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10002.
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L’elaborato finale va ad analizzare il cambiamento e l’evoluzione della poesia di Wilfred Owen, celebre poeta inglese della prima Guerra Mondiale. Lo studio e l’analisi vertono, principalmente, su come è cambiato il suo modo di fare poesia, in particolare grazie all’incontro con il poeta e soldato Siegfried Sassoon.
Partendo da un resoconto prettamente biografico della prima infanzia e giovinezza di Owen, per sottolineare come sia nato l’interesse a l’amore per la poesia, è importante mettere in evidenza i modelli poetici. Primo fra tutti uno dei maggiori esponenti del Romanticismo, John Keats, guida e ispirazione del giovane Wilfred. Cresciuto in una famiglia medio borghese a inizio Novecento, Owen entra in contatto con Keats fin dagli studi scolastici e lo accoglie come maestro e insegnante.
Prima di arruolarsi nell’esercito e prendere parte al massacro che fu la Prima Guerra Mondiale, due esperienze segnano la vita e la poetica di Owen. Nel 1911 diventa aiutante del Vicario in una piccola parrocchia, a Dunsden, e nel 1913 parte per la Francia per fare l’insegnante. Entrambi i viaggi lasciano un segno nella vita del giovane, e sono fondamentali per la sua crescita come scrittore. Tramite l’analisi di alcune delle più significative poesie scritte durante quegli anni, è possibile vedere come il germe della scrittura sia presente, ma ancora molto acerbo.
Nel 1914, con lo scoppio della guerra, Owen si interroga sul suo destino. Sarà il conseguente arruolamento nell’esercito e l’esperienza della vita in trincea che segnerà il punto di rottura con il resto. Per quanto riguarda la formazione poetica, la nascita di Wilfred Owen, il grande “war poet”, avviene grazie all’incontro e all’amicizia con Siegfried Sassoon.
I due poeti si incontrano nel 1917 a Craiglockhart, ospedale di guerra vicino ad Edimburgo. Il rapporto personale va di pari passo con quello professionale, Sassoon diventa maestro e mentore per Owen, che grazie a lui inizia a dar voce all’orrore sperimentato in guerra. Proprio durante la permanenza qui scrive tre delle più celebri poesie, ‘Anthem for doomed youth’, ‘Disabled’ e ‘Dulce et Decorum Est’.
L’importanza di questo incontro si rivela dal punto di vista poetico; Sassoon introduce Owen ad un nuovo modo di fare poesia e di raccontare la guerra. Owen rimane sempre fedele ad un tono quasi Romantico di poesia, non abbandonando mai la prima influenza Keatsiana, ma impara a coadiuvare l’orrore e la devastazione della guerra usando nuovi metodi di poesia, come la famosa para-rima.
In conclusione, tramite l’analisi delle sue poesie si può notare come sia stato prezioso e importante l’aiuto e il sostegno di Siegfried Sassoon, è probabile che senza di lui non Owen non sarebbe stato il poeta che conosciamo, ed è sicuro che è merito suo se nel 1920 è stata pubblicata la prima collezione di poesie del poeta anglosassone.
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Khan, Nosheen. "Women's poetry of the First World War." Thesis, University of Warwick, 1986. http://wrap.warwick.ac.uk/66938/.
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This thesis seeks to study women's poetic response to the First World War a hitherto neglected area of the literature inspired by the war. It attempts to retrieve from oblivion the experience of the muted half of society as rendered in verse and document as far as possible the full range of the poetic impact the war made upon female sensibility. It is thematic in structure and concentrates upon the more recurrent of attitudes and beliefs which surface in women's war writings. The thematic structure was adopted to cover as wide a range as possible of the ways the historical experience could be met and interpreted in literature. This study takes into account the work of the established writers of the period as well as the amateur versifiers who made war their subject. The first chapter discusses verse which defines the nature of war as apprehended by the female consciousness. Chapter Two examines the poets' use of religious concept and image to lend meaning and purpose to an event entirely at variance with the ideals employed to explain it. The third chapter considers the exploitation of the perennial poetic subject of nature to interpret war by accommodating it into the language and thought of an apparently alien literary tradition. War as it impinged upon the consciousness of people on the Home Front is discussed in Chapter Four; it is partly concerned with revising the calumnious images of women in war time as set out by the soldier poets. Chapter Five looks into the writing of those women who wrote out of their experience of working in the various organisations which were an integral part of the machinery of warfare. War as an experience of suffering - suffering peculiar to the female - defines Chapter Six. The purpose of this study has been to suggest the variety of literary responses to the First World War by those who, at great cost, produce the primal munition of war - men - with which their destinies are inextricably ,linked. As part of a response to a particular historical event, the literary interpretation of which has conditioned modern war consciousness, women's war poetry is not without relevance for it adds a new dimension to the established canon of war literature and correspondingly a new vista to understanding the truth of war.
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Loxley, James William Stanislas. "Royalist poetry in the English Civil War." Thesis, Royal Holloway, University of London, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319509.
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Leadingham, Norma Compton. "Propaganda and Poetry during the Great War." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etd/1966.
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During the Great War, poetry played a more significant role in the war effort than articles and pamphlets. A campaign of extraordinary language filled with abstract and spiritualized words and phrases concealed the realities of the War. Archaic language and lofty phrases hid the horrible truth of modern mechanical warfare. The majority and most recognized and admired poets, including those who served on the front and knew firsthand the horrors of trench warfare, not only supported the war effort, but also encouraged its continuation. For the majority of the poets, the rejection of the war was a postwar phenomenon. From the trenches, leading Great War poets; Owen, Sassoon, Graves, Sitwell, and others, learned that the War was neither Agincourt, nor the playing fields of ancient public schools, nor the supreme test of valor but, instead, the modern industrial world in miniature, surely, the modern world at its most horrifying.
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Ho, Tai-Chun. "Civilian poets and poetry of the Crimean conflict : the war at home." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/8730/.
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Cast in the shadow of the soldier-poets of the First World War, the Civilian poets of the Crimean War (1854-56) have long been dismissed as ill-informed patriots. Challenging this long-standing assumption, this thesis argues that Crimean War poetry constitutes a distinctive category of war poetry which should be studied in its own right, and that reading a civilian’s war poem requires a careful consideration of the poet’s engagement with the epistemological, ethical and formal implications of dealing with war and suffering at several removes. For mid-nineteenth-century critics and poets the distant war in the Crimea was not only a media war but also a literary one, during which they drew on established traditions and forms to negotiate with revised conceptions of the role and genre of war poetry. These conceptions were in turn being constantly updated and contested by modern forms of reportage, particularly telegraphic dispatches and photographs. This thesis considers the artistic endeavours of a wide range of civilian poets including Alfred Lord Tennyson, his friend Franklin Lushington, the ‘Spasmodic’ Sydney Dobell, the working-class Chartist Gerald Massey, the Punch contributor Tom Taylor, the satirist Robert Brough and anonymous poets whose works appeared in newspapers, journals and magazines at the time. In doing so, it seeks to provide fresh, historically nuanced readings of the cultural impact and legacy of their poetic output. This thesis also argues for a differentiation between early and late poetic responses. Burdened with their knowledge of the suffering caused by their government’s mismanagement of the war, civilian poets from January 1855, set out to challenge established conventions of war poetry and experiment with sophisticated poetic forms other than the lyric. They drew on a range of formal resources, including the sonnet, satires and dramatic monologue to write new kinds of documentary, questioning, or even satirical war poetry. As such, their poetic responses were not intended to arouse readers’ patriotic sentiment and to advocate the government’s military campaign as did traditional patriotic poetry, but to perform a wide variety of political critiques- to challenge the political elite’s prosecution of the war and the dominant class system; to commemorate the bodily pain of the wounded; to give voice to the emotional suffering of civilians remaining at home during the war; to ease the public’s anxiety about the welfare of soldiers’ families, and to explore the trauma of war.
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Rousseau, Jacques. "Dispatches from an older war." Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/17457.
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Masters, James Marvin. "Poetry and civil war in Lucan's Bellum Civile." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.276516.
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Masters, Jamie. "Poetry and civil war in Lucan's "Bellum civile"." Cambridge (GB) : Cambridge university press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35569689k.
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McLaughlin, S. A. "War stories [poems] /." Diss., Online access via UMI:, 2007.
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Harrison, Louise. "The truth about the war : canon formation and canonicity in Great War poetry." Thesis, Keele University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434037.
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Al, Shammari Adhraa. "'History engraved on his shoulder' : a comparative study of the influence of British First World War poetry on post-1980 Iraqi war poetry." Thesis, University of Plymouth, 2016. http://hdl.handle.net/10026.1/5475.
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This study aims to compare British war poetry of the First World War with Iraqi poetry from the mid-20th century with special reference to Iraqi war poetry of the 1980’s Iraq-Iran War and the period that followed it. It will also investigate the influence of the designated British war poetry on the chosen body of Iraqi poetry. Through the comparison of sample poems the study presents, firstly, the direct influence of the British poetry of the Great War and its translation which formed the seeds of a more radical movement in Iraqi poetry during the 1980’s Iran/Iraq War and the period that followed it. The study also presents a comparison of the works of British and Iraqi civilian poets during and after the war time and their contribution in setting the ground for the younger generation to create more subversive poetic forms with special reference to women as influential characters and inspirations in their works. The moment of the 1980’s war marks the break with the clear direct influence of British war poetry and starts another phase of the comparison of a universal bond of similar reactions, conscious and unconscious expression reflecting the lives of the combatant group of men first and then of poets sharing a devastating war reality. The study reveals a remarkable, more radical change of poetic forms in Iraqi poetry between the time of the first seeds planted by the influence of translations from European poetry until the time of the Iran/Iraq war and the Gulf War in 1991 and the rise of the new nihilistic generation of the 1990s subverting war, politics and cultural life through their innovation in prose poem writing and its significance as an alternative space for their political and social subversion.
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McCaffery, Richard. "Poets as legislators : self, nation and possibility in World War Two Scottish poetry." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/7049/.
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This thesis is the first sustained critical and sociological reappraisal of the poetry produced by Scottish poets who came of age during World War Two and a selection of those who were old enough to have experienced the previous conflict whilst still responding in their art to World War Two. This thesis carves out a critical space for World War Two poetry beyond the poetry of pity and loss espoused by poets of World War One. It also takes into account the conditions and circumstances that mark out Scottish poetry of this conflict from English poetry of the same era, for programmatic, political, poetic and linguistic reasons as well as re-configuring the definition of World War Two poetry to encompass the experience of women poets. At the core of this thesis lies the idea that the Scottish poetry of World War Two was committed to something more than anti-fascism. These poets did not simply oppose a tyrannical, fascist force in their work, they were also developing ways in which their work and art could contribute to a better post-war Scottish society and in many ways espousing both internationalism and proto-transnationalism as well as anti-imperialism. All of these poets contributed in both practical and intellectual ways to post-war Scottish society. In this, this thesis takes its lead from Alice Templeton’s literary theory of a war poetry of ‘possibility’ that transcends both the trauma, witness and outrage of reactions to war. The cumulative effect of the work of these poets is a legislative and educational impact made on society, that poets could have a say in their work on how post-war society could be reconstructed in fairer and more equitable ways. This poetry is both modernist and romantic in the sense that it desires a change and sees life and potential that is being denied by imperial super-powers and structures while it invests the poet with an empowered voice. From the home-front to the front-line, diverse avenues of experience are treated as being of vital importance. The first chapter of this thesis explores the Elegies for the Dead in Cyrenaica and a number of folk songs by Hamish Henderson, to show his unique commitment to post-war Scotland in his folk-song work. Chapter two compares and contrasts the work of Alexander and Tom Scott, showing their range of reaction from the epic to the highly personal elegy. The thesis then moves into an analysis both of George Campbell Hay’s war poetry, which sympathised with the native Arab populations during the desert war, and the work of Sorley MacLean, who found his political certainties shaken. From this point the thesis explores the anti-heroic work of Edwin Morgan and Robert Garioch as well as the political and personal reasons for refusal of conscription expounded by Douglas Young and Norman MacCaig. The thesis closes with a discussion of women’s experience and poetry of World War Two, and an in-depth a look at the major influential figures on the poets of this time, Hugh MacDiarmid and Edwin Muir. Between these figures we shall see a range of experiences, but each poet is united in their struggle, dramatized in their work, for a better post-War Scotland, a drive which this thesis explores and discusses for the first time in detail.
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Van, Wienen Mark W. "Partisans and poets : the political work of American poetry in the Great War /." Cambridge [GB] : Cambridge university press, 1997. http://catalogue.bnf.fr/ark:/12148/cb367001011.
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Mac, Caba Seamus. "The neutral heart : Irish poetry and World War II." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307544.
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Brearton, Frances Elizabeth. "Creation from conflict : the Great War in Irish poetry." Thesis, Durham University, 1998. http://etheses.dur.ac.uk/5042/.
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This thesis explores the impact of the First World War on the imaginations of six poets - W.B. Yeats, Robert Graves, Louis MacNeice, Derek Mahon, Seamus Heaney and Michael Longley - all of whom have written in wartime: Graves in the Great War, Yeats in the Great War, the Anglo-Irish War and the Civil War, MacNeice in the Second World War, Mahon, Longley and Heaney in the Northern Ireland Troubles. The thesis locates affinities between these poets in their response to violence, and compares the ways in which they have imaginatively appropriated the images and events of the Great War to facilitate that response. Part I of this study begins by outlining the historical background to Irish participation in the Great War, and considers some of the issues involved in the Irish cultural response to the war which were engendered by the complex domestic politics in Ireland between 1914 and 1918. Chapters two to four constitute a more detailed exploration of these issues as manifested in the work of Yeats, Graves and MacNeice. In the cases of Yeats and MacNeice, their engagement with the subject of the Great War is re-evaluated in order to illuminate repressed or complex areas of Irish history and culture, and to shed new light on their influence on recent Northern Irish poetry. Consideration of Robert Graves's response to the Great War serves to illustrate the ways in which a high-profile association with the War can obscure relations to an Irish or Anglo-Irish tradition. The thesis discusses ways in which these poets have been misrepresented, and considers how far the misrepresentation can be attributed to the contrasting interpretations of the Great War in England and Ireland, and to versions of literary history based upon these interpretations. The second part of the study concentrates on contemporary Northern Irish poetry. Chapter five considers problems pertinent to Northern Ireland in relation to the subject of the Great War by looking at the ways in which remembrance of the war, politicized in order to bolster mythologies of history, reverberates in the context of the Northern Irish Troubles. The final three chapters outline the difficulties encountered by Northern Irish poets Mahon, Heaney and Longley, under pressure to respond to the Troubles, and relate these difficulties to those encountered by the Great War soldier poets. The chapters explore the extent to which the fascination of these three poets with the Great War illuminates their aesthetic strategies, revises aspects of Irish political and cultural history, offers a way of responding to the violence in Northern Ireland, and has determined critical responses to their work. The thesis is concerned with ways in which the Great War has been imagined in Irish writing. It also shows how and why those imaginings have struggled with, and revised aspects of, reductive mythologies of history and competing versions of the literary canon.
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Gilbert, Adam John. "Morality, soldier-poetry, and the American war in Vietnam." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.607787.
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Kaufman, Amanda Christine. "A System of Aesthetics: Emily Dickinson's Civil War Poetry." University of Toledo Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1292535978.
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McWha, Matthew. "Voices of Vietnam : a monumental poetry of trauma." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20448.
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The poetry written by combat veterans and other witnesses to the Vietnam War is a testament to what they saw and felt in Southeast Asia. Through their poetry they build 'monuments' to their traumatic experience, piecing together memories in order to heal themselves and teach future generations about the horrors of Vietnam. These poems function in much the same way as the Vietnam Veterans Memorial in Washington, D.C., both poem and Memorial requiring the effort of the 'reader' in order to propagate the legacy of the Vietnam War. By bearing witness to the Vietnam experience, the poem and the Vietnam Veterans Memorial facilitate questions; questions through which the reader and the visitor are able to construct their own imaginary monuments to the Vietnam War.
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Travis, Isabelle. "The poetry of pain : trauma, madness and suffering in post-World War II American poetry." Thesis, University of Reading, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.553108.
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Saunders, Christopher. "The definition of Edward Thomas : the poetry of identity." Thesis, Open University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272974.
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Ingelbien, Raphael. "Misreading England : poetry and nationhood since the Second World War." Thesis, University of Hull, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323171.
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Waller, C. D. "The poetry of Anton Schnack." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:354fe0a5-68d5-4a9e-b051-b5f77ab74acc.
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This thesis is the first academic treatment of the poetry of Anton Schnack (1892-1973): his work is not well known, even in Germany. Methodologically the thesis takes a combined literary, historical and biographical approach, exploring the complex and sometimes deceptive relations between his poetry and the turbulence of his time. The primary aim of the thesis is to show that Tier rang gewaltig mit Tier (1920) is a uniquely innovative volume of war poetry which, to be fully appreciated, needs to be assessed against the background of previous German war poetry and the development of the sonnet cycle. It is placed in the context of Schnack’s other lyrical work, particularly of the three volumes of Expressionist poetry which immediately preceded it and which themselves are analysed as examples of a very powerful kind of Expressionism. Schnack did not publish his next volume of verse until 1936, and three further collections emerged in quick succession between 1947 and 1953. These four collections are examined in detail in the context of Schnack’s decision to stay in southern Germany and to maintain a consistently low profile. The thesis begins with a general introduction to Schnack’s life and work and makes specific reference to his contemporary and current standing among literary historians and critics. Chapter Two focuses on the three volumes of Expressionist verse and documents the cultural circles which he frequented in Munich and the numerous Expressionist magazines and periodicals to which he contributed. The next three chapters are dedicated to Tier rang gewaltig mit Tier and examine it with reference to its poetic form as a cycle of sonnets and of its merits and status as war poetry. The final chapter pays particular attention to Schnack’s life in the Third Reich, situating the single collection he published during that era among the literary works of Inner Emigration, before analysing his three post-war collections.
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Jones, Kelly. "Still Life Moving Fast." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1639.
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Finlay, Francis James. "On the rationality of poetry : Heinrich Boell's aesthetic thinking." Thesis, University of Newcastle Upon Tyne, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333970.
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Blomqvist, Henrik. "Forever England : Nationalism and the War Poetry of Rupert Brooke and Siegfried Sassoon." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-216164.
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Campbell, Rebecca. "We gave our glorious laddies : Canadian women's war poetry, 1915-1920." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31916.
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Women's home-front poetry of the Canadian Great War (1914-1918) betrays a conflicted
sense of Canadian identity, stressing as it does both the familial continuities of the
Commonwealth and the new sovereignty celebrated by patriots who saw the war as an
opportunity to assert Canadian independence. At the same time it traces a conflicted
sense of female duty in wartime, as women become both the symbolic avatars of their
nation and the producers of national. This thesis addresses the context of women's
popular poetry during the Great War, with specific reference to the propagandistic project
of the Canadian War Records Office and, more specifically, the poetry of Katherine Hale
(1874 - 1956) and Mrs. A. Durie (1856 - 1933). Their work, and the work of other
poets, valorise female sacrifice in war-time, and voice male soldiers on the battlefield in a
kind of ventriloquism. Both of these strategies allow disenfranchised, colonial women to
write back to the war, to both challenge and contribute to Canada as a national project.Arts, Faculty of
English, Department of
Graduate
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Cooper, B. B. "John Berryman and the spiritual politics of cold war American poetry." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.597963.
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John Berryman continues to be critically perceived as an academic, establishment poet whose career represented a development from New Critical traditionalism towards a solipsistic, self-absorbed confessionalism. In this thesis, I seek to challenge such a limiting view through an exploration of his two long poems, Homage to Mistress Bradstreet and The Dream Songs, as works that extensively engage with contemporary American Cold War culture to a degree not admitted by such restrictive paradigms. Centrally, I examine the way in which Barryman’s engagement with religion occurs not simply as a personal questing, but as a form of cultural critique that is reflective of the politicised nature of Cold War American religious life. In chapter one, I interrogate the persistent critical tendency to codify American poetry since World War II in terms of an opposition between a ‘mainstream’ establishment centre and a countercultural ‘avant-garde’. I then seek in my second chapter to highlight the inadequacy of this canonical model, through an exposition of spiritual politics as a shared concern of the two poets most famously associated with the ‘establishment’ and ‘countercultural’ subdivisions of Cold War American poetry: Robert Lowell and Allen Ginsberg. In chapter three, I discuss the spiritual politics of Berryman’s Homage to Mistress Bradstreet. In chapter four, I challenge Christopher Rick’s suggestion that The Dream Songs is a ‘theodicy’, and show how recognition of the political nature of Berryman’s religious engagements actually exposes the poem as a form of ‘antitheodicy’, whereby its protagonist Henry is continually unable to reconcile the contemporary world in terms of any overarching scheme of divine justice. Finally, in my fifth chapter, I examine four key thematic concerns of The Dream Songs – World War II, the Cold War, Freudian psychoanalysis, and the minstrelsy and blackface traditions – in order to elucidate the heterogeneous contexts in which Berryman’s religiopolitical concerns operate.
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Newman, Vivien B. E. "Women's poetry of the First World War : songs of wartime lives." Thesis, University of Essex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401045.
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Sokołowska-Paryż, Marzena. "The myth of war in British and Polish poetry, 1939-1945 /." Bruxelles ; Bern ; Berlin : Presses interuniversitaires européennes (P.I.E) : P. Lang, 2002. http://catalogue.bnf.fr/ark:/12148/cb38878942n.
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Al-Abboodi, Muna Abdulkadhim Nima. "Women, war, and possible new worlds : utopia in H.D.'s poetry." Thesis, University of Leicester, 2017. http://hdl.handle.net/2381/39827.
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This thesis examines H.D.’s treatment of utopia, offering a new perspective both on H.D. studies and studies of utopia, which typically focus on prose. The thesis traces the chronological development of H.D.’s utopian poetry, starting with her early years of experimental Imagism in 1914 and ending with her epics in 1960. My study aims to diversify existing critical approaches to H.D. which, according to many feminist critics, are limited in their treatment of her poetry. Susan Gubar states that the “critical establishment” reads H.D.’s poetry “only one way, from the monolithic perspective of the twentieth-century trinity of imagism, psychoanalysis, and modernism” (20). My work challenges established readings of H.D.’s poetry through a distinctly utopian vision. Likewise, this thesis diversifies studies of utopia, which typically focus on prose, by analysing poetry. I provide a new approach to H.D. by reading her poetry in relation to theories of utopia offered by Michel Foucault, Zygmunt Bauman and Ernst Bloch. I argue that looking at utopia in H.D.’s work is fundamental to an understanding of her as a female poet who resists patriarchy. I contend that in her poetry H.D. creates a feminist utopia as an antidote to the dystopia of war. Her poems envision alternative spaces that counter the war-shattered world. In those “other spaces,” to use Foucault’s expression, H.D.’s women transcend the limits of their prescribed social role or tarnished historical reputation to become leaders, saviours, and world-shapers.
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Khuddro, Ahmad. "The critical reception of the poetry of Rupert Brooke and Wilfred Owen." Thesis, University of Leeds, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.277704.
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Repshire, James Grant. "F.W. Harvey and the First World War : a biographical study of F.W. Harvey and his place in the First World War literary canon." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/21790.
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F.W. Harvey’s poetry was more popular during the First World War than many – if not most – of those whom we celebrate as ‘the war poets’ today. He is unique among the poets of that war for his insight into the life of the British POW in Germany, and for the influence of his work in the first of the British trench journals, the 5th Gloucester Gazette. Yet, he has received little national attention since his death in 1957, and scholarly work on his life is lacking, largely owing to a deficit of publicly-available primary sources and original material regarding his life and works. This has resulted in a failure to place him properly within the literary canon of the First World War. The recent discovery of Harvey’s papers allows us to examine his life and his contemporary cultural impact, and more fully to evaluate the value of his work and what it tells us about the First World War experience. Using Harvey’s papers, this biographical study will reconstruct the historical details of his life as they relate to the First World War. Concurrently, it will develop our understanding of his war-related work. This will demonstrate Harvey’s influence during the war, first as a trench poet, then as the poetic voice of the British POW. It will also examine how Harvey’s work continued to be affected by the war in the years after the armistice. The result will be a greater appreciation of the life and importance of a First World War poet whose voice was in danger of being lost to time.
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Stone, Alison Jane. "Contemporary British poetry and the Objectivists." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/30174.
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This thesis examines a neglected transatlantic link between three post-war British poets – Charles Tomlinson, Gael Turnbull and Andrew Crozier – and a group of Depression-era modernists: the Objectivists. This study seeks to answer why it was the Objectivists specifically, rather than other modernists, that were selected by these three British poets as important exemplars. This is achieved through a combination of close readings – both of the Americans’ and Britons’ poetry and prose – and references to previously unpublished correspondence and manuscripts. The analysis proceeds via a consideration of how the Objectivists’ principles presented a challenge to dominant constructs of ‘authority’ and ‘value’ in post-war Britain, and the poetic is figured in this sense as a way-of-being as much as a discernible formal mode. The research concentrates on key Objectivist ideas (“Perception,” “Conviction,” “Objectification”), revealing the deep ethical concerns underpinning this collaboration, as well as hitherto unacknowledged political resonances in the context of its application to British poetries. Discussions of language-use build on recent critical perspectives that have made a case for the ‘re-forming’ potential of certain modernist poetries, particularly arguments about ‘paratactic’ versus ‘fragmentary’ modernisms, and as such the three British poets’ interest in the Objectivists is interpreted as a response to a need for restitution following the trauma of World War II. Ultimately, it is argued that this interaction (which this thesis figures in explicitly transatlantic terms) was a challenge to the emphasis placed on collective and normative viewpoints in much post-war British poetry, many of which were located in an organic conception of ‘nation.’ This study claims that the Objectivists’ example posited a contrasting poetic, foregrounding individual agency and capacity for thought as the only viable means for the poet to re-connect with and make meaningful statements about society and the world.
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貝雪菁 and Suet-ching Whitty Bui. "A study of Du Fu's (712-770) war poems." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43208757.
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Goodland, Giles. "Modernist poetry and film of the Home Front, 1939-45." Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:cbc4f071-0e64-4a07-866d-ba83359262cb.
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This thesis is an exploration of the links between modernist literature and film and society at a period of historical crisis, in Gramscian terms a moment of national 'popular will'. In general, these works are informed by a greater organicity of form, replacing the previous avant-garde model of a serial or mechanical structure. This organicity, however, maintains an element of disjunction, in which, as with filmic montage, the organicity is constituted on the level of the work seen as a totality. Herbert Read's aesthetics are shown to develop with these changes in the Thirties and the war years. The work of H.D. and T.S. Eliot is explored in the light of these new structural elements, and the formal questioning of the subject through the interplay of 'we' and montages of location and address in the poems. The pre-war years are portrayed in these works as a time of shame, and the war as a possible means of redemption, perhaps through suffering, or through the new subjectivity of the wartime community. The documentary movement provides an opportunity to trace these formal changes in a historical and institutional context, and with the work of Dylan Thomas, the relations between mass and high culture, film and poetry, are investigated, as well as the representation of the Blitz, in which guilt is sublimated into celebratory transcendence. These aspects, and the adaptation of a European avant-garde to meet British cultural needs, are examined in the work of the Apocalyptic movement. The last structure of feeling is reconstruction, which is related to Herbert Read's thought, but shown to inform all these other works and to be a linking-point between ideology and the structure of the text, formed as an organic unity that promises a reconstructed post-war society.
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Miller, Sydney A. "Peaceful Verses: Political Ideology in Newspaper Poetry of the War of 1812." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/679.
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Both the Centinel and the Republican were publishing during a period when newspapers became increasingly partisan. Editors were changing from largely nonpartisan craftsman to advocates of party policy. Newspapers aligned with the two political parties of the day, the Federalists and the Democratic-Republicans. As statements of political ideology, these papers reveal not only partisan polarization, but also the parties’ shared ideological roots. Though the Federalists and Republicans
responded to British aggression in very different ways (one wanting peace at any cost, the other militarization), their reactions paradoxically stem from a common Enlightenment theory of “universal peace,” which held republics to be inherently peaceful institutions. The patriotic poems of the Republican and the Centinel support the idea of a bipartisan reluctance to go to war that J.C.A. Stagg, George Daughan, and Alan Taylor allude to in their comprehensive histories of the war of 1812. The theory of “universal peace” made both Federalists and republicans felt that the belligerent empires were forcing the United States into a military conflict that ill-suited its republican form of government.
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Brint, S. D. "Dialetic and difference : Politics and war in the poetry of Wallace Stevens." Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.233677.
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Tandello, Emanuela Maria Cristina. "An enquiry into Italian post-war experimentalism : the poetry of Amelia Rosselli." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305920.
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Lyon, Philippa Morag. "Anthologies of British Second World War poetry : a literary and cultural analysis." Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410364.
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The thesis begins by identifying and contextualising the contemporary literary and cultural status of Second World War poetry as derivative of a small group of First World War poets. Arguing for a re-evaluation of Second World War poetry's standing, the thesis draws mainly upon non-canonical poets and texts to analyse a wide spectrum of poetic form and theme. As part of the research methodology and approach, the focus is on a selection of Second World War poetry anthologies published since 1939. These texts not only facilitate the sampling of a range of war poets' work, but also offer insights into the literary and cultural judgements that contribute to the process of editorial selection and organisation. The thesis thus relates the anthology analysis to changes both in the construction of the war poetry genre, and in the representation of the Second World War as a cultural and historical event. The war years anthologies are grouped into the categories of Wartime, Forces, Serial and Manifesto as a means of characterising the diversity of editorial discourse and approach, and lines of congruence and tension between poetry and editorial approaches are explored. The thesis then considers the dramatic decline in poetry anthologies during the post-war period. During 1946-64, there was a reluctance to view the war as a literary period, and ambivalence about the value of Second World War poetry. By the mid-Sixties a combination of economic and social change and academic developments encouraged a surge of new interest in selecting, publishing and debating the significance of Second World War poetry. The thesis discusses the persistent critical preoccupations with notions of the biographical and canonical in war poetry, and the diversification of Second World War anthologists' approaches since 1965
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Ehrhart, William D. "Back where the past is mined : American poetry of the Korean War." Thesis, Swansea University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.403162.
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Baldock, Sophie. ""A correspondence is a poetry enlarged" : Robert Duncan, Elizabeth Bishop, Amy Clampitt and post-War poets' letters." Thesis, University of Sheffield, 2016. http://etheses.whiterose.ac.uk/16716/.
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This thesis explores the work of three post-war American poets—Robert Duncan, Elizabeth Bishop and Amy Clampitt—for whom the practice of letter writing was already a disappearing art. In placing these poets and their letters side-by-side, the thesis makes connections between poets who have previously been seen as inhabiting different and largely discrete poetic spheres. The thesis intervenes in the growing field of epistolary scholarship, extending and amending the findings of previous critics who have observed the close relationship between letters and poems. It challenges a recent critical emphasis on letters as sources that should be considered independent from poems, arguing instead that the two art forms are deeply interwoven. Through an examination of particular case studies and detailed close readings of published letter collections and unpublished archival material, the thesis demonstrates how Duncan, Bishop and Clampitt used letters as inspiration and material for their poems. The thesis uncovers a shared lineage with nineteenth-century and earlier letter writing conventions, showing how these poets replicated prior practices including the coterie circulation of poems in letters, an Emersonian concept of friendship, a “baroque prose style” and miniature portrait exchange. For three poets who existed on the margins of various literary movements, as well as often being geographically isolated, letters were a vital source of friendship and companionship. However, in each case, letters were not perfect models of harmonious friendship and community. In fact, the sense of connection created through letters proved to be nearly always, and necessarily, virtual and delicate.
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Lynch, Éadaoín. "'This may be my war after all' : the non-combatant poetry of W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16566.
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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.
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Wheeler, Samuel Paul. "Every Spot a Grave: The Poetry of Abraham Lincoln." Available to subscribers only, 2008. http://proquest.umi.com/pqdweb?did=1757055931&sid=2&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Thesis (Ph. D.)--Southern Illinois University Carbondale, 2008."Department of Historical Studies." Keywords: Lincoln, Abraham, Civil War, Poetry, Rhetoric. Includes bibliographical references (p. 382-413). Also available online.
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Edford, Rachel Lynn 1979. "“The Step of Iron Feet”: Formal Movements in American World War II Poetry." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11981.
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x, 237 p.We have too frequently approached American World War II poetry with assumptions about modern poetry based on readings of the influential British Great War poets, failing to distinguish between WWI and WWII and between the British and American contexts. During the Second World War, the Holocaust and the bombings of Hiroshima and Nagasaki obliterated the line many WWI poems reinforced between the soldier's battlefront and the civilian's homefront, authorizing for the first time both civilian and soldier perspectives. Conditions on the American homefront--widespread isolationist and anti-Semitic attitudes, America's late entry into the war, the bombing of Pearl Harbor, the Japanese internment, and the African American "Double V Campaign" to fight fascism overseas and racism at home--were just some of the volatile conditions poets in the US grappled with during WWII. In their poems, war shapes and threatens the identities of civilians and soldiers, women and men, African Americans and Jews, and verse form itself becomes a weapon against war's assault on identity. Charles Reznikoff, Muriel Rukeyser, Gwendolyn Brooks, and Richard Wilbur mobilize and challenge the authority of traditional poetic forms to defend the self against social, political, and physical assaults. The objective, free-verse testimony form of Reznikoff's long poem Holocaust (1975) registers his mistrust of lyric subjectivity and of the musical effects of traditional poetry. In Rukeyser's free-verse and traditional-verse forms, personal experiences and public history collide to create a unifying poetry during wartime. Brooks, like Rukeyser, posits poetry's ability to protect soldiers and civilians from war's threat to their identities. In Brooks's poems, however, only traditionally formal poems can withstand the war's destruction. Wilbur also employs conventional forms to control war's disorder. The individual speakers in his poems avoid becoming nameless war casualties by grounding themselves in military and literary history. Through a series of historically informed close readings, this dissertation illuminates a neglected period in the history of American poetry and argues that mid-century formalism challenges--not retreats from--twentieth-century atrocities.
Committee in charge: Karen Jackson Ford, Chairperson; John Gage, Member; Paul Peppis, Member; Cecilia Enjuto Rangel, Outside Member
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Hagemann, Michael Eric. "Shadows, faces and echoes of an African war: The Rhodesian bush war through the eyes of Chas Lotter – soldier poet." University of the Western Cape, 2016. http://hdl.handle.net/11394/5474.
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Philosophiae Doctor - PhDPoetry that is rooted in that most extreme of human experiences, war, continues to grip the public imagination. When the poetry under scrutiny comes from the "losing side" in a colonial war of liberation, important moral and ethical questions arise. In this thesis, I examine the published and unpublished works of Chas Lotter, a soldier who fought in the Rhodesian Army during the Zimbabwean liberation war (1965- 1980). In investigating Lotter's artistic record of this war, I propose that a powerful, socially embedded Rhodesian national mythology was a catalyst for acceptance of, and participation in, the Rhodesian regime's ideological and military aims. A variety of postcolonial theoretical approaches will be used to explore the range of thematic concerns that emerge and to unpack the dilemmas experienced by a soldier-poet who took part in that conflict. Trauma theory, too, will be drawn upon to critically respond to the personal impact that participation in organized violence has upon combatants and non-combatants alike. The production and marketing of this cultural record will also be examined and in the conclusion, I speculate on the changes modern technology and evolving social mores may have on future developments in war literature. Finally, I conclude my case for installing the challenging work of this often conflicted and contradictory soldier-poet as a necessary adjunct to the established canon of Zimbabwean Chimurenga writing.
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Fetters, Sam. "Finding Peace in a City at War: d.a. levy's "Suburban Monastery Death Poem"." University of Toledo Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1355446425.
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Al-Mahdawi, Abeer Othman Khalaf. "Eschatology in a time of war : the poetry of H.D. and Robert Lowell." Thesis, Durham University, 2017. http://etheses.dur.ac.uk/12478/.
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The first half of the twentieth century was a fertile time for poetry with a new form and new content to match the sweeping changes of modernity. There is no doubt that the traumatic experience of two world wars had a profound effect on the art and culture of the time, urging writers to fathom the deep and disturbing ways in which war impacted upon the human spirit. This was a huge challenge, and an opportunity at the same time, for American poets to forge a new personal and authentic vision in response to political, cultural and intellectual changes, particularly within the context of religious belief. The thesis examines the work of H.D. and Robert Lowell, two American poets who were greatly preoccupied with war and its aftermath. Like many writers at that time, they were interested in the eschatologies of traditional religious beliefs and their role in changing people’s perceptions in trying times. Both poets write from the perspective of a Christian upbringing, but in their poems they articulate non-conformist eschatological visions, the formation process of which varies between revising, inverting or even negating these old conventions. They seek to delineate a new understanding and a new interpretation of orthodox eschatological and apocalyptic models, so as to relate more intensely and effectively with the momentous upheavals of the modern era. The purpose of the study is to shed light, within a personal and artistic framework, on the differences and similarities in the ways that the two poets approach the theme of war, focusing primarily on the poems written during or immediately after the Second World War. The thesis starts with an Introduction, which explores the significance of eschatology and the appeal of apocalypse in the modern age, especially in a time of war and catastrophe. The Introduction also touches upon the significance of bringing these two poets together in a single study. The first chapter presents H.D., a first-hand witness to the First World War, and her Imagist poems written during and after that war; while the second chapter discusses two of her most important collections of poems, What Do I love? and Trilogy. Written during the early 1940’s, the two books respond to the Second World War through syncretizing a modern feminine faith from different traditional systems of beliefs. Similarly, Lowell is designated two chapters. Chapter Three explores the poet’s presentation of an inverted version of the eschatological convention of Puritan Calvinism, his ancestors’ faith. His first two volumes, Land of Unlikeness and Lord Weary's Castle, written also during the early 1940’s, are discussed in this chapter. The last chapter of the thesis tackles Lowell’s important and well-known volume, Life Studies, written in late 1950’s, during the period of the Cold War. This work shows Lowell, the confessional and manic-depressive poet who, despite relinquishing his faith and (with it) his earlier poetic style of the 1940’s, is still preoccupied with war. The thesis claims that his modern spiritual eschatology is hidden under the mask of secularism and sceptical faith. It concludes with a Coda that sums up its main findings.