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Bruno, Cosima. "Contemporary Chinese poetry in translation". Thesis, SOAS, University of London, 2003. http://eprints.soas.ac.uk/4399/.
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Maylor, Micheline. "A little sketch: motherhood in poetry and contemporary Canadian poetry". Thesis, University of Newcastle Upon Tyne, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489280.
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This thesis explores definitions of: Good Mother, Good Poetry, and Creative Writing in the Contemporary Canadian context. The first section explores what it means to be a 'good' mother and what it means to write a 'good' poem. The section outlines the predictable phases ofmotherhood poetry in five parts. These phases are defined and explored by citing examples of both established authors and my own creative writing. The section then details the process ofreawakening sexuality following motherhood, which links directly to a section ofpoetry found in the third chapter. The second section (Contemporary Canadian Poetry: The Vineyard) surveys poetry in Canada while addressing nuances in its literary landscape such as regionalism and settlement. The section explains the current and local poetry scene in terms offashion and theory as it has evolved from early modernism. The chapter touches on how Canadian poetry is seen outside of Canada and explores the tensions ofthe present day poetry scene while considering the roots ofthese tensions. The Third section (Little Thoughts) contains Creative Writing. These poems are a result of synthesizing ideas found in previous sections and are presented in six parts. The first section titled Artefacts, considers objects as mnemonics and delves into family history. The second section titled One Bird, conforms to the theme of motherhood. The third section is titled Far Tonight. This poetry explores the reawakening ofthe sexual self after parenthood. The fourth section is called Velleities and is a catch all poetry section. The next section called The Gully, addresses corning of age in a particular landscape. The Body Dream stands as an appendix to the final selection ofcreative work and this section holds the poems that are weak in their attempt to be 'good' poetry and represent a leap in learning.
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McCurry, Sara Kathleen. "The places of contemporary American poetry /". view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181111.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 260-266). Also available for download via the World Wide Web; free to University of Oregon users.
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Fulford, Sarah. "Gendered spaces in contemporary Irish poetry". Thesis, University of Kent, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298598.
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Perril, Simon. "Contemporary British poetry and modernist innovation". Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309700.
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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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Jenkins, Sarah E. "Facing God : contemporary American devotional poetry /". Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2392.pdf.
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Inwood, Heather. "On the scene of contemporary Chinese poetry". Thesis, SOAS, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494221.
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Broom, Sarah. "Inhabitable mythologies : myth in contemporary Irish poetry". Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302587.
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Corrigan, Paul T. "Wrestling with Angels: Postsecular Contemporary American Poetry". Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5671.
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In the current “secular age,” more and more people find beliefs and behaviors associated with traditional religion intellectually and ethically untenable. At the same time, many “postsecular” writers, both believers and nonbelievers, continue to write with religious or religiously-inflected forms, themes, and purposes. In the United States, postsecular poets “wrestle with angels” by engaging constructively and deconstructively with matters traditionally considered the domain of religion and spirituality. While the recent work of Jürgen Habermas, Charles Taylor, John McClure and others puts the concept of the postsecular at the cutting edge of various fields of study, including religion, sociology, and literature, this dissertation presents the first study of contemporary postsecular poetry. The central question is, how should we define and describe contemporary postsecular poetry in the United States and how should we understand its religious and literary significance? To answer this question, this dissertation presents a broad survey of postsecular contemporary American poetry, offers extended analyses of the work of two preeminent postsecular poets—Li-Young Lee and Scott Cairns—and probes the implications for readers of the poetic forms found in such texts.
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Small, Charlene. "The father figure in contemporary Irish poetry". Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.676715.
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Riddle, Hannah G. "Translating Contemporary Minimalist Poetry: Limitations and Complexities". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/600.
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I have written and translated a collection of poetry into German, comparing the obvious constraints of minimalist poetry to longer and prosaic forms. In addition to pertinent literature, I utilize my educational background in German as well as a recent foreign language internship to explore the limitations and complexities of translating contemporary minimalist poetry. I focus on how, because of its inherent need for syntactic brevity, minimalist poetry can often be one of the most difficult types of poetry to translate.
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Fitch, Toby Patrick Brian. "Themparks: Alternative Play in Contemporary Australian Poetry". Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15993.
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Themparks is a creative and critical thesis consisting of a book of poems—The Bloomin’ Notions of Other & Beau—and two experimental essays that illuminate the praxis behind the book of poems, not by auto-critique, but via a study of other contemporary Australian poets whose poetry involves similar compositional approaches. The Bloomin’ Notions of Other & Beau hijacks the prose poems of Arthur Rimbaud’s famously incomplete manuscript Illuminations and re-verses their content—a “Down Under conceit”—to create “inversions”, radically new poems that are ludic and multiple in form, that complicate authorial subjectivity by employing various methods of (mis)translation and appropriation, and whose subject matter reflects and refracts political and personal fragmentation in twenty-first century Australia. “Themparks”, the first critical essay, is a divagation into thempark by contemporary Australian poet Michael Farrell, the poems of which transpose/depose the structures of poems by John Ashbery; “Themparks” also analyses John Ashbery’s translations of the Illuminations of Arthur Rimbaud via a re-reading of Rimbaud’s famous formulation, “I is an other” (Je est an autre). “Aussi/Or”, the second critical essay, is a disquisition on Stéphane Mallarmé’s late innovative poem Un Coup de dés and its various antipodean versions and (mis)translations written by Christopher Brennan (in 1897), Chris Edwards and John Tranter (both in 2006). Both essays/assays explore the (anti)genre of poetic rewritings of previous poems; both trace certain homosocial poetic lineages from self-consciously “experimental” contemporary Australian poets back through American and Australian postmodernists to early modernist French poets; both raise/raze issues of translation, appropriation, plagiarism, and reproduction while employing—metonymically—some parallel theoretical tropes from psychoanalysis, linguistics, philosophy, and science. The guiding thread—the fil conducteur latent in Mallarmé—between the creative and critical components of this thesis is a poetics of the pun. The pun’s promiscuity highlights the highly libinal nature of language-tampering while working to both associate and dissociate parataxis and parapraxis.
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Florian, Sara <1981>. "Contemporary West Indian poetry: a "Creole" aesthetics?" Doctoral thesis, Università Ca' Foscari Venezia, 2010. http://hdl.handle.net/10579/975.
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La mia tesi verte su un’indagine dei più ricorrenti principi di un’estetica “creola” nella poesia contemporanea dei Caraibi anglofoni, includendo un’analisi dei testi letterari scelti e dei loro contesti. Ho studiato l’opera poetica (che in alcuni casi abbraccia anche arte e musica) di Earl McKenzie e Joan Andrea Hutchinson (Giamaica), di Lasana Sekou (St. Martin), di Shake Keane (St. Vincent), di Kendel Hippolyte (St. Lucia), di Adisa Jelani Andwele (a.k.a. AJA) e del defunto Bruce St. John (Barbados), di Merle Collins (Grenada), di David Rudder e LeRoy Clarke (Trinidad), e di altri due poeti defunti, Eric Roach (Tobago) e Martin Carter (Guyana). I dodici poeti studiati sono stati scelti sulla base di uguaglianza, provenienza geografica e quindi rispettiva variante regionale del Creolo. La mia ricerca cerca di aggiustare la struttura teorica di un’estetica “creola” ad uno scenario letterario caraibico per verificare se sia possibile delineare un’estetica comune nei Caraibi anglofoni.My thesis deals with an investigation into the most recurrent “Creole” aesthetic principles in contemporary West Indian poetry, including an analysis of the literary texts chosen and their contexts. I have studied the poetic oeuvre – which, in some cases, also incorporates paintings and music – of Earl McKenzie and Joan Andrea Hutchinson (Jamaica), Lasana Sekou (St. Martin), Shake Keane (St. Vincent), Kendel Hippolyte (St. Lucia), Adisa Jelani Andwele (a.k.a. AJA) and the late Bruce St. John (Barbados), Merle Collins (Grenada), David Rudder and LeRoy Clarke (Trinidad), and two other deceased poets, Eric Roach (Tobago) and Martin Carter (Guyana). The twelve poets analysed were chosen on the basis of equality, geographical provenance and thus respective regional variety of the Creole. My research tries to apply a “Creole” aesthetic theoretical framework to selected Caribbean literary works and verify whether it is possible to outline a common West Indian aesthetics out of that process.
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Fogarty, William. "Local Languages: The Forms of Speech in Contemporary Poetry". Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19662.
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Robert Frost’s legendary description of “the sound of sense” to define his poetics has for decades sounded like little more than common sense. His idea is now taken to be fairly straightforward: the inflections of an utterance resulting from the tension between demotic speech and poetic form indicate its purport. However, our accepted notion of Frost’s formulation as simply the marriage of form and meaning misconstrues what is potentially revolutionary in it: if everyday speech and verse form generate tension, then Frost has described a method for mediating between reality, represented by speech, and art, represented by verse form. The merger is not passive: the sound of sense occurs when Frost “drag[s] and break[s] the intonation across the metre.” And yet Frost places speech and verse form in a working relationship. It is the argument of this dissertation that poets reckon with what is often understood as discord between poetry and reality by putting into correspondence forms of speech and the forms of poetry. The poets I examine–Seamus Heaney, Gwendolyn Brooks, Tony Harrison, and Lucille Clifton–are concerned with their positions in local communities that range from the family unit to ethnic, religious, racial, economic, and sexual groups, and they marshal forms of speech in poetic form to speak from those locales and to counter the drag and break of those located social and political realities. They utilize what I call their “local languages”–the speech of their particular communities that situates them geographically in local contexts and politically in social constructs–in various ways: they employ them as raw material; they thematize them; they invent idiosyncratic “local” languages to undermine expectations about the communities that speak those languages; they devise generalized languages out of standard and nonstandard constructions to speak not just to and from specific locations but to speak more broadly about human experience. How, these poets ask, can poetry respond to atrocities, deprivations, divisions, and disturbances without becoming programmatic or propagandistic and without reinforcing false preconceptions about the kinds of language suitable for poetry? They answer that question with the living speech of their immediate worlds.
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Thomas, Joseph T. Susina Jan. "Refiguring the culture(s) of contemporary American children's poetry". Normal, Ill. Illinois State University, 2003. http://wwwlib.umi.com/cr/ilstu/fullcit?p3087877.
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Thesis (Ph. D.)--Illinois State University, 2003.Title from title page screen, viewed October 19, 2005. Dissertation Committee: Jan Susina (chair), Victoria Harris, Anita Tarr. Includes bibliographical references (leaves 241-258) and abstract. Also available in print.
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Sedlak, Emma Adams. "Origin stories and contemporary epistles in American prose poetry". Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/26043.
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My poetry portfolio is 75 pages long, and consists of single poems as well as two series. The first series includes the ‘Good Work’ poems, which explore different ideas of ‘good work’ based on characters’ occupations, preoccupations and mental perspectives. The second series is the ‘Makar’ poems, depicting an imagined world in which the poet is a guardian angel or guiding force. The style of my poetry varies from lyric to prose poetry, with a few language-focused abstract poems, and more formal styles, like a villanelle. Dreaming and waking are two themes that reflect aspects of reality and perception. Much of my portfolio is rooted in reflections of identity: Identity in terms of work, and the story we tell to the world about what we do; identity in terms of inter-personal relationships and how those connections form who we become; identity in terms of memory, and the story of who we have been; and identity in terms of the stories we tell ourselves about who we think we are. And if none of those stories align, what kind of fragmented self-identity does that reveal? The narrative poems often use different characters and personas in order to enact these lenses of identity. Even with only a few epistles in the collection, my poetry has been influenced by the epistolary ideas of separation and reunion (as critic Altman describes them: ‘bridge’ and ‘distance’). Similarly, the prose poems often riff on the unification and distancing of various themes, in a mediation of together- and apart-ness. I have used letters and diary-entries as addresses to the audience, and also as invitations for the reader to access the poem through different points of entry. My academic thesis focuses on the utilisation of epistles in contemporary American prose poetry. It is 26,000 words, and is divided into three sections: focused on Epistles: Poems by Mark Jarman; Letters to Kelly Clarkson by Julia Bloch, and The Desires of Letters by Linda Brown; and Dear Editor: Poems by Amy Newman. Why are we still writing poems as letters when we don’t habitually write letters for personal correspondence anymore? The poem-as-letter, or epistle, offers the ability to craft complex relationships within the reader/author, writer/recipient, and open/closed dynamics of intimacy in literature. The criticism is framed within the methodology of reader-response theory, and draws upon examples of epistles in history and literature to connect and establish themes.
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Horton, Patricia. "Romantic intersections : romanticism and contemporary Northern Irish poetry". Thesis, Queen's University Belfast, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337039.
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Hay, Rebecca Cecilia. "Nostalgia: Movement and Stasis in Contemporary American Poetry". BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3475.
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A remarkable amount of award-winning contemporary American poetry incorporates nostalgia as a prominent idea discussed. This poetry appears to use nostalgia as means to a greater end. In other words, nostalgia, while a dominant theme within different works, is more a way to treat concepts such as representation and memory, more so than the work being an actual commentary on nostalgia itself. Given the poetry's predominant concept, it seems poets such as Carl Dennis, Natasha Trethewey and Ted Kooser could be representative of a literary historical moment. This moment is one which comments heavily on the past's presence within the present. While each poet's writing is heavily influenced by nostalgia, I posit the theory that these poets are speaking to a greater literary historical moment found in both the literature itself as well as current trends in literary theory. It is not that these poets are writing to a specific theory, rather, their Pulitzer-prize winning poetry is rooted in a trend of yearning for the past. As overt a connection between contemporary poetry's treatment of nostalgia and nostalgia theory itself, little, if any, literary criticism has connected these two. In his essay "Theorizing Nostalgia Isn't What It Used to Be," Paul Grainge contends, "Since the late 1980s, when memory became a topic of concerted critical interest, nostalgia has been taken up in critiques of reactionary conservatism, in accounts of retro phenomena, in relation to the growing memorial tendencies in Europe and America, and as central to particular theories of postmodernism" (20). Grainge continues on to describe two forms nostalgia takes: "mood" and "mode." Similarly, Svetlana Boym suggests nostalgia as either "reflective" or "restorative" (41). This type of current scholarship addressing nostalgia seems to set up a nostalgic reading of texts as more the end game of the literature—the literature is nostalgic. However, if literature then ends as only nostalgic, there seems to be a lack of nostalgic theory's breadth. Dennis, Trethewey and Kooser all address this gap through their poetry—expanding the notion of nostalgia as being more the vehicle leading one through the landscape of memory. Suggesting nostalgia as merely reflective or restorative, as Boym and Grainge have done, seems to create a sense of nostalgia as stagnant rather than as a dynamic movement within the literature, and even the act of recollection itself. The three poets addressed in my project all suggest at some level that this residue of the past can lead one to see that perhaps experience itself delights in memory. Furthermore, nostalgia's dependence upon present memory indicates not just a longing for the past, but rather the past's presence in the present. The act of remembering serves as a type of catalyst which transforms memories to manifestations in present circumstance.
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Jeffery, Ella M. "Dead Bolt: Unhomely renovations and contemporary Australian poetry". Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/122955/1/Ella_Jeffery_Thesis.pdf.
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Australia is in the grip of an obsession with house renovation. This practice-led thesis examines how acts of house renovation can be represented, interrogated and contested in lyric poetry, arguing that the renovated house is an unhomely, liminal space. The project consists of a 90-page collection of poetry titled Dead Bolt, and an exegesis titled Intimate Architecture. Using lyric poetry, the project reveals that the renovated house is a deeply unhomely space, one which is both familiar and strangely unfamiliar: a space that encapsulates both the destroyed house of the past and the unknown house of the future.
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Campbell, Ian Frank. "National literature, regional manifestations contemporary Indonesian language poetry from West Java /". Connect to full text, 2006. http://hdl.handle.net/2123/1219.
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Thesis (M. Phil.)--University of Sydney, 2007.Degree awarded 2007; thesis submitted 2006. Title from title screen (viewed 19 Dec. 2006). Submitted in fulfilment of the requirements for the degree of Master of Philosophy to the School of Languages and Cultures. Includes bibliographical references. Also issued in print.
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Groom, Kelle. "Five Kingdoms". Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2168.
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GROOM, KELLE . Five Kingdoms. (Under the direction of Don Stap.) Five Kingdoms is a collection of 55 poems in three sections. The title refers to the five kingdoms of life, encompassing every living thing. Section I explores political themes and addresses subjects that reach across a broad expanse of time--from the oldest bones of a child and the oldest map of the world to the bombing of Fallujah in the current Iraq war. Connections between physical and metaphysical worlds are examined. The focus narrows from the world to the city in section II. The theme of shelter is important to these poems, as is the act of being a flâneur. The search for shelter, physical and spiritual, is explored. The third section of Five Kingdoms narrows further to the individual. Political themes recur, as do ekphrastic elements, in the examination of individual lives and the search for physical and metaphysical shelter. The title poem "Five Kingdoms," was written on the 60th anniversary of the atomic bombing of Hiroshima on August 6, 1945. This non-narrative poem is composed of a series of questions for the reader regarding personal and national security. It is a political poem that uses a language of fear and superstition to question what we are willing to sacrifice to be safe and what "safety" means. The poem ends with a call to action: "Before you break in two, categorize/the five kingdoms, count all the living things." The poems in this manuscript are a kind of counting that pays attention to the things of the world through praise and elegy. The poems in Five Kingdoms are indebted to my reading of many poets, in particular Michael Burkard, Carolyn Forché, Brenda Hillman, Tony Hoagland, Kenneth Koch, Philip Levine, Denise Levertov, Jane Mead, W.S. Merwin, Pablo Neruda, Frank O'Hara, Mary Oliver, Adrienne Rich, and Mark Strand.M.F.A.
Department of English
Arts and Humanities
Creative Writing MFA
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Luck, Jessica Lewis. "Gray matters contemporary poetry and the poetics of cognition /". [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3215175.
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Thesis (Ph.D.)--Indiana University, Dept. of English, 2006.Source: Dissertation Abstracts International, Volume: 67-04, Section: A, page: 1339. Adviser: Paul John Eakin. "Title from dissertation home page (viewed March 22, 2007)."
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Mortuza, Shamsad. "The Shamanic and Bardic Traditions in Contemporary British Poetry". Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487208.
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The thesis examines the shamanic in poetry by exploring the work of five late modernist British poets: lain Sinclair, Jeremy Prynne, Brian Catling, Barry MacSweeney, and Maggie O'Sullivan. These poets are committed to. a radical aesthetic that questions the symbolic ordering of reality_ Loosely drawing on Mircea Eliade's notion of shamanism as 'archaic techniques of ecstasy,' they transform Eliade's version of the shaman's 'elective trauma' in order to enact a critical rejection of totalitarian tools of the state and society. I have used Sinclair's idea of the 'Shamanism of Intent' to frame three of the poets (Prynne, Catling, and Sinclair) as, in Rothenberg's phrase, 'Technicians of the Sacred' in order to highlight their intention to wrest spirituality away from the confines of religion and embody it in textual practice. This process involves an investigation and enlisting of 'hidden' energies - past and present. I have interpreted MacSweeney and O'Sullivan in terms of their attitude towards the body where it stands as a figure of the material (i.e. social and textual) and the . physical (i.e. individuals). While MacSweeney shows the physical body dismembered in a double gesture which exposes the destructive force of society and at the same time evokes the scattered body of Dionysian ritual, Maggie O'Sullivan dissects the body of her text to observe its gestation (i.e. the birth oflanguage). The process rather than the artistic product is important. Based on these criteria, I have discussed these two poets under the category of 'Technicians of the Body.' The poets studied refrain from branding their poetic practice as shamanic, to avoid possible fetishisation andexoticisation of their chosen project. My categorisation, however, is supported by the numerous engagements with shamanic elements in their work. In a broader literary context, I discuss how contemporary uses of the shamanic relate to the English Romantic poets' selective interpretation of shamanic and bardic ideas of the poet. At the same time I argue that the contemporary poets' use of shamanic elements involves a shared critique of myth.
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Chamberlain, Louise. "Materiality and metaphor : environment and place in contemporary poetry". Thesis, University of Nottingham, 2015. http://eprints.nottingham.ac.uk/30674/.
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This thesis considers literary and critical reverberations of environment and place in order to reframe conceptions of what nature might mean for contemporary poetry. It attends to the timeframe of 1990 – present, assessing how developments in socio-political context and critical thought correspond or conflict with poetic responses. The interdisciplinary reach of the thesis brings together literary geography and ecocriticism, both of which established their roots during this period, putting conventional understandings of place and environment under pressure. The approach encourages a geographical attention to socio-cultural concerns whilst maintaining critical awareness of recent ecocritical focus on materiality, emphasising the potentially productive friction between cultural representation and physical reality. The thesis responds to earlier Romantic paradigms, granting marginalised contemporary poetry a stronger critical agency whilst still accepting the transformations and metamorphoses of literary convention. Taking a thematic approach, each chapter engages with key binaries found in environmental and geographical thinking to reveal how contemporary poetics unsettle and challenge such dualisms. The study looks at the work of twelve writers: Thomas A. Clark, John Burnside, Alec Finlay, Roy Fisher, Philip Gross, Barry MacSweeney, Robert Minhinnick, Alice Oswald, Frances Presley, Jo Shapcott and Zoë Skoulding. As a result, it compares and contrasts the poets’ engagements with the key threads in the thesis, suggesting that contemporary poetry of place and environment is united through its recognition of the paradox or gap between the material world and linguistic representation. Ultimately, the thesis concludes that contemporary poetry of environment and place is deliberately unstable, as it metamorphoses forms, modes and legacies, encouraging an understanding of such work as simultaneously responsive to and yet distinct from conventional paradigms of nature poetry.
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Cook, Méira. "Speaking in tongues, contemporary Canadian love poetry by women". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0025/NQ31971.pdf.
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Yeung, Heather Hei-Tai. "Affective mapping : voice, space, and contemporary British lyric poetry". Thesis, Durham University, 2011. http://etheses.dur.ac.uk/929/.
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This thesis investigates the manner in which an understanding of the spatial nature of the contemporary lyric poem (broadly reducible to the poem as and the poem of space) combines with voicing and affect in the act of reading poetry to create a third way in which space operates in the lyric: the ‘vocalic space’ of the voiced lyric poem. Together with the poem as and of space, the vocalic space of the contemporary lyric poem gives way to an enunciating I and eye with which we, as reader, identify and which we voice, in a process of ‘affective mapping’. Voice, and the spaces the I/eye of the contemporary lyric poem visualises and articulates, is affective, contested, and multiple. Visual and vocalic identification with the voice of the poem through this free, fragmented, or multiple, I/eye leads us to understand more fully the poem on its own terms. The chapters of this thesis offer readings of John Montague’s The Rough Field, Thomas Kinsella’s A Technical Supplement, Kathleen Jamie’s This Weird Estate, and Alice Oswald’s Dart, as well as the poetry of Seamus Heaney, Thom Gunn and Mimi Khalvati, in order to investigate the implication of this thesis on the way we read, voice, and analyse contemporary British lyric poetry. The work of each poet offers different perspectives on perception, place, and space, and different engagements with the voiced and textual spaces of poetry, from the more formal poetics of Heaney, Jamie, and Gunn, to the experiments with text and image of Montague, Kinsella, and Jamie, the use of different languages by Montague, Jamie, and Khalvati, and the manipulation of the space of the page and angle of poetic vision and voice by Montague, Khalvati, and Oswald. The chapters work almost chronologically from The Rough Field (1972) to Dart (2002) with an emphasis on the importance of space, voice, and affect to the readings of the poems and poets in question.
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Luo, Feng, i 洛楓. "The image of the city in contemporary Chinese poetry". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31210168.
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Twiddy, Iain. "The pastoral elegy in contemporary British and Irish poetry". Thesis, University of Sheffield, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427181.
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Rigby, Michael. "Interliminal Tongues: Self-Translation in Contemporary Transatlantic Bilingual Poetry". Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22753.
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In this dissertation, I argue that self-translators embody a borderline sense of hybridity, both linguistically and culturally, and that the act of translation, along with its innate in-betweenness, is the context in which self-translators negotiate their fragmented identities and cultures. I use the poetry of Urayoán Noel, Juan Gelman, and Yolanda Castaño to demonstrate that they each uniquely use the process of self-translation, in conjunction with a bilingual presentation, to articulate their modern, hybrid identities. In addition, I argue that as a result, the act of self-translation establishes an interliminal space of enunciation that not only reflects an intercultural exchange consistent with hybridity, but fosters further cultural and linguistic interaction. As a manifestation of their hybrid sensibilities, each of these three poets employs the process of self-translation as an extension of their poetic themes, including a critique and parody of postmodern globalization, reappropriation of language to combat forces of oppression and deterritorialization, or a socio-linguistic representation of bilingual life in a stateless nation from the perspective of a minority language.
Self-translation highlights the interliminality between languages, establishing a “third space” of communication that transcends the incomplete communicative ability of each of the two languages. When presented bilingually, self-translation foregrounds the act of translation; the presence of both languages not only encourages interaction between the two languages, but also draws attention to the act of translation, instead of obscuring it in a layer of transparency. This brings the reader to ponder the act of translation and the relationship between languages, ultimately enabling the reader to more fully appreciate the generative qualities of translation.
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Robles, Jaime Carla. "'Dark lyrics' : studying the subterranean impulses of contemporary poetry". Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14222.
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This thesis is composed of two parts: Hoard, a collection of poems, and Dark Lyrics: Studying the Subterranean Impulses of Contemporary Poetry, an inquiry into the metaphor of darkness in late twentieth- and early twenty-first-century Anglophone poetry. Hoard includes four series of poems – ‘Red Boat’, ‘Hoxne’, ‘Quatrefoils’ and ‘White Swan’ – which use the Hoxne hoard as a metaphor for lost love. The second series is titled ‘Foundlings’, and is based on archival tokens from children who were abandoned to London’s Foundling Hospital in the mid-eighteenth century. The third series includes ‘Elegy’ and ‘Decorations’, and uses descriptions of the Staffordshire hoard along with eyewitness accounts of global conflict in the late-twentieth century to the present day. Dark Lyrics: Studying the Subterranean Impulses of Contemporary Poetry examines the theme of loss presented in the poems Hoard, progressing from orphans to silenced women to bereavement to war to ecological disaster. The book is a series of mediations of a central topic and includes close readings that show how an individual contemporary writer uses the topic within his or her work. Meditation One posits that forms of loss appear in poetry as metaphors of darkness, and proceeds historically through the work of Dante, Shakespeare and Elizabeth Bishop and Charles Wright; the chapter ends with a close reading of John Burnside’s prose poem ‘Annunciations’ (Common Knowledge). Meditation Two looks at the mythological uses of the concept of darkness, especially as it represents ego loss, and discusses Joan Retallack’s ‘Afterrimages’; the chapter closes with a discussion of Rusty Morrison’s Whethering and when the true keeps calm biding its story. Meditation Three looks at the emotions of lost love, both familial and romantic, and includes a discussion of Martha Nussbaum’s theory of emotions and ethics. The chapter includes close readings of Elizabeth Robinson’s The orphan and its relations and Susan Howe’s That This. Meditation Four discusses the pain caused by war and the form of my long poem ‘Decorations’; it includes an examination of Seamus Heaney’s North. The chapter concludes with an essay on Maxine Chernoff’s book Without. Meditation Five discusses objects and how they become a part of the body and therefore become a potential locus for both pain and loss; the chapter closes with a close reading of Brenda Coultas’ The Handmade Museum. The themes and ideas are reiterated in the Conclusion.
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Nightingale, Andrew. "Reanimating Alan : investigating narrative and science in contemporary poetry". Thesis, Anglia Ruskin University, 2013. http://arro.anglia.ac.uk/295466/.
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This practice‐based research is a long creative work about Alan Turing. It consists of a series that includes prose, narrative poems and visual poems. An accompanying critical commentary, which is split into three sections, addresses the relationship between narrative and seriality, ways in which scientific notations can be used in visual poetry, and aspects of biographical and civil poetry. A finalsection contains a selection of creative approaches to commentary that reflect on research in a manner that is complementary to the critical commentary. The research was carried out through a process of repeated planning and experimentation that has resulted in a variety of forms and procedures, ranging from the accessible and conventional to the idiosyncratic and experimental. A method of investigating narrative was created by allowing narrative and serial formsto intersect throughout the creative work. A means of bringing science and literature into relation was sought through a process of forceful combination of scientific notations with literary or occult materials. And alternative possibilities for biographical poetry were investigated through resistance to celebration and through experiment with formal propertiesin poetry that could be appropriate to Turing. The creative work and critical commentary find new models for the relationship between narrative and seriality in which the will to create narrative is not denied and seriality is not a mere absence of narrative. They find new means by which science and literature can come into contact through visual poetry. They help to define a unique role for poetry in biographical writing in the way that poetry allows the subject to be embodied formally. And they set up a productive dialogue between experimental andmore established writing strategies.
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Johnson, Sharolyn Shae. "Castle Building: Contemporary Poetry and Flash Fiction from Appalachia". Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/honors/611.
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Appalachian writing brings a voice to the region that is often obstructed or excluded by popular culture throughout the United States. Crowded with stereotypes, many stories of Appalachian culture are misconstrued or never heard at all. This makes the work of modern Appalachian writers especially significant. Perhaps one of the best ways to reach a broader audience of people in this fast-paced digital time is through shorter writings, and in this thesis I will be presenting my process of writing modern flash fiction and poetry and of sharing the truths of working class, Appalachian people.
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Nightingale, Andrew. "Reanimating Alan: investigating narrative and science in contemporary poetry". Thesis, Anglia Ruskin University, 2013. https://arro.anglia.ac.uk/id/eprint/295466/1/thesis_reanimatingalan_andrewnightingale.pdf.
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This practice‐based research is a long creative work about Alan Turing. It consists of a series that includes prose, narrative poems and visual poems. An accompanying critical commentary, which is split into three sections, addresses the relationship between narrative and seriality, ways in which scientific notations can be used in
visual poetry, and aspects of biographical and civil poetry. A finalsection contains a selection of creative approaches to commentary that reflect on research in a manner that is complementary to the critical commentary. The research was carried out through a process of repeated planning and experimentation that has resulted in a variety of forms and procedures, ranging from the accessible and conventional to the idiosyncratic and experimental. A method of investigating narrative was created by allowing narrative and serial formsto intersect throughout the creative work. A means of bringing science and literature into relation was sought through a process of forceful combination of scientific notations with
literary or occult materials. And alternative possibilities for biographical poetry were investigated through resistance to celebration and through experiment with formal propertiesin poetry that could be appropriate to Turing. The creative work and critical commentary find new models for the relationship between narrative and seriality in which the will to create narrative is not denied and seriality is not a mere absence of narrative. They find new means by which science and literature can come into contact through visual poetry. They help to define a unique role for poetry in biographical writing in the way that poetry allows the subject to be embodied formally. And they set up a productive dialogue between experimental andmore established writing strategies.
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Campbell, Ian Frank. "National literature, regional manifestations: Contemporary Indonesian language poetry from West Java". Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1219.
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This thesis 'maps' aspects of contemporary Indonesian language poetry and associational life related to that poetry from the Indonesian province of West Java, particularly, but not exclusively, in the period after 1998.
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Roth, Matthew. "Anything Like Us". Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3217/.
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Anything Like Us is a collection of poems with a critical introduction. In this introduction, I explore modern alternatives to Romantic and Neo-Romantic lyric expression. I conclude that a contemporary lyric that desires to be, in some fashion, about itself, must exhibit an acceptance of the mediating influences of time and language, while cultivating an inter-subjective point-of-view that does not insist too much on the authority of a single, coherent voice. The poems in Anything Like Us reflect, in both form and content, many of the conclusions advanced in the introduction. Nearly all the poems concern the desire for, and failure to find, meaningful connections in an uncertain world .
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Challis, John David. "'The Knowledge', a collection of poetry, and, The poem noir : film noir in contemporary poetry". Thesis, University of Newcastle upon Tyne, 2015. http://hdl.handle.net/10443/3072.
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This thesis consists of a collection of poetry, The Knowledge, and the first critical investigation into the ‘poem noir’, an unidentified and unexplored mode within contemporary poetry that exhibits thematic and visual echoes from the body of films known as film noir. Taking its title from the London taxi driver’s rigorous examination, The Knowledge’s key theme is displacement: from social class, education and from a sense of home. It echoes the quest of the doomed film noir protagonist, who, in a thirst for knowledge, is drawn into a psychological descent into a metaphorical underworld. Like the poems noir analysed in the critical section, these possess an anxious, pessimistic and obsessive engagement with the world, and are set within noirish locales to excavate the autobiographical and the imaginative. Inspired by film noir’s portrayal of individuals whose identity is called into conflict, the poems take the lid off the works of memory and place, to examine a personal and public moral compass, and to dramatize the past and the present. After providing a definition of film noir, the critical section outlines a model for reading a poem noir by analysing a selection of seminal American films noir of the classic 1941 to 1958 period, along with several neo-noir films produced from the 1970s onwards. It then provides close readings of Paul Muldoon’s hard-boiled Chandleresque poem, ‘Immram’ (1980), Deryn Rees-Jones’ book-length murder-mystery poem, Quiver (2004), and David Harsent’s nightmarish labyrinthine poem, ‘Elsewhere’ (2011), and introduces them as poems noir. In conclusion I consider how writing poetry is a noirish act, sharing a similarity with Seamus Heaney’s notion that the role of writing poetry is to unearth revelations about the self, and with Henrik Gustafsson’s thesis that film noir is concerned with taking the lid off the works to expose whatever truth lies beneath.
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Yu, Liwen. "Politicizing poetics the (re)writing of the social imaginary in modern and contemporary Chinese poetry /". Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42841628.
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Vong, Lai Ieng. "Macao poetry today : a study of contemporary writing across cultures". Thesis, University of Macau, 2008. http://umaclib3.umac.mo/record=b1780762.
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Rickey, Russell P. "Referentially speaking, generating meaning(s) in contemporary North American poetry". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq23476.pdf.
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Nazarenko, Tatiana. "Contemporary visual poetry in Russian and Ukrainian, a critical study". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0005/NQ39572.pdf.
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Balmer, Josephine. "Piecing together the fragments : translating classical texts, creating contemporary poetry". Thesis, University of East Anglia, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445175.
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Sheppard, Victoria. "Contesting voices : authenticity, performance and identity in contemporary British poetry". Thesis, University of Southampton, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438041.
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Jarvis, Matthew Rodger. "Aspects of postmodernism in a range of contemporary English poetry". Thesis, Aberystwyth University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247413.
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FREITAS, DANIELA SILVA DE. "ESSAYS ON RAP AND SLAM POETRY IN CONTEMPORARY SÃO PAULO". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=34815@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
PROGRAMA DE DOUTORADO SANDUÍCHE NO EXTERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTITUIÇÕES COMUNITÁRIAS DE ENSINO PARTICULARES
Ensaios sobre o rap e o slam na São Paulo contemporânea analisa algumas das transformações ocorridas no período entre 1997 - ano de lançamento do álbum Sobrevivendo no Inferno, do Racionais MC s - e o momento atual, o ano de 2017, no que diz respeito à palavra cantada na cultura hip-hop em São Paulo. Como essa cena atualmente tem como característica central a sua multiplicidade, esta tese compõe-se por ensaios relativamente independentes sobre diferentes produções artísticas que têm em comum o apreço pelo chamado quinto elemento da cultura hip-hop: o conhecimento, e seus ideais de construção de comunidade e cidadania. Cada uma dessas produções lida com essas questões de forma distinta, às vezes dentro de um circuito independente, outras através da disputa pela ocupação de espaços dentro do circuito tradicional. Os textos estudados aqui - o trabalho do grupo Racionais MC s e dos rappers Criolo, Emicida, Karol Conka e Rico Dalasam, e o Slam Resistência - apontam para a forte interrelação entre poesia e técnica existente no movimento hip-hop paulista. Eles querem ser poiesis, no sentido em que querem produzir não só poesia, mas também vida. O argumento central desta tese é que este processo poético passa pela utilização de novas linguagens e pela criação de novas lógicas e percursos para os sistemas de produção, recepção, curadoria e promoção da arte hoje.
Essays on Rap and Slam Poetry in Contemporary São Paulo aims to analyze some of the transformations that have happened within the hip-hop movement in São Paulo in regards to the realm of the sung word or palavra cantada, namely rap and slam poetry, during the last twenty years - from the release of Racionais MC s Sobrevivendo no Inferno to the present moment. As the contemporary hip-hop scene in São Paulo is defined by its multiplicity, this dissertation is composed by separate essays that discuss and analyze different artistic productions. The respect for the fifth element of hip-hop culture - knowledge and its ideals of community-building, collectivity and citizenship - is what brings these productions together. Each of them deal with these matters differently, sometimes inside an independent circuit, other times fighting to occupy spaces within the mainstream. The works analyzed here, namely the work of rappers Racionais MC s, Criolo, Emicida, Karol Conka and Rico Dalasam as well as the poetry slam Slam Resistência, point to the strong interconnection between poetry and technique in São Paulo s hip-hop culture. These works want to be poiesis, in the sense that they want to produce not only poetry but also life. The thesis presented here is that such a poetic process entails the use of new languages and the creation of new logics and paths for the systems of production, reception, curatorship and promotion of art today.
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Schwartz, Melissa Rachel. "The Language of Ethical Encounter: Levinas, Otherness, and Contemporary Poetry". Diss., Virginia Tech, 2017. http://hdl.handle.net/10919/78359.
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According to philosopher, Emmanuel Levinas, alterity can exist only in its infinite and fluid nature in which the aspects of it that exceed the human ability to fully understand it remain unthematized in language. Levinas sees the encounter between self and other as the moment that instigates ethical responsibility, a moment so vital to avoiding mastering what is external to oneself that it should replace Western philosophy’s traditional emphasis on being as philosophy’s basis, or “First Philosophy.” Levinas’s conceptualization of language as a fluid, non-mastering saying, which one must continually re-enliven against a congealing and mastering said, is at the heart of his ethical project of relating to the other of alterity with ethical responsibility, or proximity. The imaginative poetic language that some contemporary poetry enacts, resonates with Levinas’s ethical motivations and methods for responding to alterity. The following project investigates facets of this question in relation to Levinas: how do the contemporary poets Peter Blue Cloud, Jorie Graham, Joy Harjo, and Robert Hass use poetic language uniquely to engage with alterity in an ethical way, thus allowing it to retain its mystery and infinite nature? I argue that by keeping language alive in a way similar to a Levinasian saying, which avoids mastering otherness by attending to its uniqueness and imaginatively engaging with it, they enact an ethical response to alterity. As a way of unpacking these ideas, this inquiry will investigate the compelling, if unsettled, convergence in the work of Levinas and that of Blue Cloud, Graham, Harjo, and Hass by unfolding a number of Levinasian-informed close readings of major poems by these writers as foregrounding various forms of Levinasian saying.Ph. D.
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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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Malay, Michael. "The figure of the animal in modern and contemporary poetry". Thesis, University of Bristol, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.682680.
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This study is concerned with exploring the notion that there is a special relationship between animal life and the 'poetic'. It provides close readings of modern and contemporary poetry with the aim of testing, refining and drawing out the implications of this claim. The introductory chapter briefly examines the history of the animal in Western philosophy and literature. It charts this history in order to contextualize one of the gUiding questions of this study: how have animals been seen by philosophers and poets, and what differences exist between their different 'modes' or 'disciplines'? These questions lead to a discussion of J. M. Coetzee's The Lives of Animals (1997), which dramatizes these issues in fiction. The text explores a notion central to this study - namely, that poetry has a special capacity for relating to animal others. The thesis examines the implications of this idea, asking if there is something peculiar about 'poetic' thought that enables it to cultivate connections with animal life that distinguishes it from other forms of language. The thesis pursues then these questions in relation to four poets: Marianne Moore, Elizabeth Bishop, Les Murray and Ted Hughes. It provides a formal analysis of recurring literary strategies in each poet's work - such as metaphor and similebut also offers a broader consideration of the cultural factors informing each writer's oeuvre. It asks the same question in many different guises: how do poets use language in such a way that faithfully responds to the singularity of animal life?
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Badrideen, Ahmed. "Aspects of domesticity in contemporary British, Irish and American poetry". Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11502/.
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This thesis explores representations of home and domesticity in contemporary verse. Home-life and domestic scenes are significant in contemporary verse, not only because they are found in unprecedented abundance, but also because they are often taken as the principal subject of a poem, rather than as contextual setting. In short, in the post-war era, domestic experiences have proven to be rich and seemingly inexhaustible source of poetry. This is traceable primarily to an interest in ‘experiences of ordinariness’ exhibited by contemporary poets – an interest which is in no small part a product of the Movement aesthetic – and also to the surge in academic and imaginative explorations of the nature and quality of home-life during the postwar decades. A principal concern of this thesis will be with moments of epiphany or rarefication, when the domestic sphere loses its ‘domestic’ colouring as it mediates and is involved with deep emotional or intellectual experiences. The first chapter considers Hardy and Larkin. These poets, often paired together and seen as principal figures in the ‘English line’, are shown to be significant poets of the domestic sphere. The second chapter considers representations of the childhood home. Here the house is shown to be a ‘formative’ place, the ground for moral and intellectual growth. In the eyes of the child, the one who defamiliarises his or her surroundings par excellence, the house and its contents might become somewhat monumental, imbued with import unavailable to adults. The third chapter considers poems of domestic love and marriage. It shows that these poems hinge on a combination of the mundane and homely with high emotion and feeling. This leads to a new type of love poetry: wry, often sardonic, with under-stated sentiment and affection. The fourth chapter, which looks at political poems set at home, offers the most ambivalent account of domestic space. Home life might accrue negative regard when considered in relation to wars or political disturbance. On the other hand, domestic life is regarded positively as the desired end of war or civil unrest. An unmolested and normal home life is the fruit of peace. The fifth chapter looks at domestic architecture in itself, considering the various ways that domestic interiority is presented in relation to the wider world. It explores various types of relationships between domestic interiority and the exteriority beyond, from poetry where the house is besieged by the external environment, to poems where the impulse is a movement from inside to outside. The sixth chapter explores how domestic scenes and items are invoked in the work of mourning. The thesis concludes with a chapter on poetic representations of hotels and hospitals, which may be regarded as ersatz homes, ghosted by the presence of the authentic home.
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Downing, Niamh Catherine. "Stratigraphies : forms of excavation in contemporary British and Irish poetry". Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/11763.
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This thesis intervenes in current critical debates about space, place and landscape in late-twentieth and twenty-first century British and Irish poetry, by examining models of excavation in selected work by Geoffrey Hill, Ciaran Carson, Geraldine Monk and Alice Oswald. It argues that the influence of the spatial turn on literary criticism over the last thirty years has led to the deployment of a limited set of spatial tropes as analytical tools for interpreting the spaces and places of poetry. By deploying excavation as a critical method it seeks to challenge existing approaches that tend to privilege ideas of space over time, and socio-spatial practices over literary traditions of writing place. In doing so it develops a new model for reading contemporary poetries of place that asserts the importance of locating spatial criticism within temporal and literary-historical frameworks. The four poets examined in the thesis exhibit a common concern with unearthing the strata of language as well as material space. Starting from a premise that excavation always works over the ground of language as well as landscape it investigates the literary traditions of landscape writing in which each of these poets might be said to be embedded. After surveying the critical field the thesis sets out four principles of excavation that it argues are transformed and renewed by each of these poets: the relationship between past and present; recovery and interpretation of finds; processes of unearthing; exhumation of the dead. The subsequent chapters contend that these conventions are put into question by Geoffrey Hill’s sedimentary poetics, Ciaran Carson’s parodic stratigraphy, Geraldine Monk’s collaborations with the dead, and Alice Oswald’s geomorphology of a self-excavating earth. The critical method that underpins the discussion in each of the chapters is also excavatory in that it unearths both the historical and literary strata of specific sites (the Midlands, Belfast, East Lancashire, Dartmoor and the Severn estuary) and resonances in the work of earlier poetic excavators (Paul Celan, Edward Thomas, Gerard Manley Hopkins, William Wordsworth, Dante Alighieri and Homer). Through careful exegesis of these poets and their precursors this thesis demonstrates that by transforming existing forms of excavation, contemporary poetry is able to renew its deep dialogue with place and literary history.