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1
Maahlamela, David wa. "The hoof-printed rock". Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013076.
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Many of these poems, although written in English, are inspired by Sepedi idioms and proverbs. Some invoke township and village life, others the observations and questions that come from writing poetry and experiences of travelling to different countries to read my poems. Others dwell on the political transformation in South Africa, or its absence, and on my own spiritual transformation.
2
Elfyn, Menna. "Barddoniaeth Menna Elfyn : pererindod bardd". Thesis, University of Wales Trinity Saint David, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683377.
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Woudstra, Ruth. "Touching Brýnstone". Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1015032.
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Touching Brýnstone is the story of Beth, a young journalist who is troubled by misfortunes in her family and work circumstances. In a Pretoria library she is seduced by a book that consoles her and progressively becomes a fetish object. It sparks a journey to Japan, where she arrives to teach English. She is intent on meeting the author, whom she confounds with protagonist and book. This Bildungsroman is an exploration of the complex relationship between inner and outer self, and the struggle towards wholeness. Beth must find a way out of the obsession so that she can return to South Africa with an enriched insight into her shadow self.
4
Rawlins, Isabel Bethan. "Counting planes". Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001816.
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This collection of prose-poems and flash fiction, together with a few short stories, shows how romantic relationships colour our perspectives on the world. The collection has echoes throughout of speakers' voices, theme, imagery and tone. There is a narrative logic too, but working on a subtle level of echo and resonance
5
Ntabajyana, Sylvestre. "Planting season". Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1002014.
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In this thesis I present a collection of semi-narrative poems about a rural Africa that is a place of folk-lore and tradition, but also a place of otherworldly, almost grotesque, incident. My characters are, similarly, range in type, from buskers, to guards, school-children, paupers and tycoons. Through the work a place that is both familiar and unknown, common-place and mysterious, emerge.
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Hogge, Quentin Edward Somerville. "Portfolio". Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001813.
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My initial intention is to try to show how, as a poet in South Africa, I suffer from a creative identity crisis. I am a white English-speaking male. I live surrounded by isiXhosa-speaking people. Is my poetry, or will my poetry be, relevant in the ‘New’ South Africa? Is English, the language of the colonial oppressors, the appropriate medium in the post-apartheid milieu? Will my subject matter be relevant? These questions and my attempts at answering them, form the basis of the poetry and the portfolio that accompanies the poems. My absorption with finding a creative ‘voice’, my concerns with the environment and a questioning of what post-apartheid poetry should write about all seem a bit Quixotic, especially to me! But at another level, they are deeply serious. (p. 5.)
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Sullivan, Louella. "Bitten". Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017778.
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My poetry investigates the extraordinary in the everyday, exploring my life as a mother and wife, to find the quiet truths that lie there. Using fresh ways of describing familiar experiences, the poems describe tiny, almost-missed moments and voices that have shaped me. Throughout the collection, I imagine my younger selves commenting on my current self and vice versa. Ultimately, my poems use simple words and clean lines to evoke how I feel (and how I want the reader to feel) in each of the moments they describe.
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Van, der Nest Megan. "Silence, like breathing". Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1015246.
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In this collection of free verse lyric poems I have drawn inspiration from childhood memories, as well as from the natural world and encounters with the people around me. Each poem focuses on a small moment, presenting an emotive portrait of a memory or an experience. These small moments lead, cumulatively, to deeper insights into myself and the world around me. The collection is divided into four seasons, in part because the work is strongly influenced by the natural world, but also because the progression of the seasons mirrors something of the personal journey reflected in the poems.
9
Gaunt, Hailey Kathryn. "Who knew". Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001812.
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This book of poems ranges in style from narrative to condensed lyric moment, and shifts in perspective from observation to introspection. Thematically, these poems explore everyday life through its many manifestations – memory, nature, marriage, faith and death – with an emphasis on finding meaning in absolutely ordinary things. Though their tone is often vulnerable and tender, even when it is more distant the poems are always searching.
10
Nolutshungu, Simphiwe. "Sunrays in a chilly winter". Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017777.
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In both my English and IsiXhosa poetry, my themes are love, politics, and the social issues of rural communities, and include my own life experiences, both good and bad. My poems are mainly short narrative accounts of township life. Although they do have a broad educational purpose, they do not preach to the reader. In IsiXhosa, my poetic forms are influenced by the works of J J R Jolobe, W N Mbovane, P T Mtuze, and my English poems by Pablo Neruda, Mafika Pascal Gwala, Garcia Lorca and others.Intliziyo yona izimele gxebe ifihlakele Iyimfihlo, kumagumbi omphefumlo. Iyafunxa, ifukame kulo magumbi amxinwa. Iingcango, mba! Zivaliwe! Maxa wambi zide zixel’ isisila senkukhu, sona sibonwa mhla ligquthayo. Vul’ amehlo ubaz’ iindlebe uchul’ ukunyathela. Yiza ndikubambe ngesandla, sivul’ iingcango! Masivul’ iingcango zentliziyo yam, sikrobe ngaphakathi! Masithi ntla‐ntla kumagumb’ amathathu kuphela! Masithi ntla‐ntla, kwelepolitiki yakwaXhosa, Kaloku nam ndingumXhosa! Masithi ntla‐ntla kwelifukame, i.z.i.x.i.n.g.a.x.i n.o.b.u.n.c.w.a.n.e. b.o.t.h.a.n.d.o, kaloku nam ndinemithamb’ ebalek’ igaz’ eliqhumayo! Ucango lokugqibela lukungenisa kwigumbi elinezidl’ umzi, Kaloku nam ndizalwa kulo mzi wakwaXhoooooosa!
This thesis is presented in two parts: English and isiXhosa.
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Beyers, Marike. "How to open the door". Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1011502.
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A collection of mostly lyrical poems. The poems explore moments of experience and thought relating to longing and belonging, in terms of relations, memory and place. The poems are mostly short and intense. Silence and implied meanings are often as important as what is said; shadows are evoked to recall substance. Though short, the poems are not tightly closed – on the contrary, meanings proliferate in the process of exploration
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Vivier, Lincky Elmé. "One leg at a time". Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1012945.
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This collection of poems explores the boundaries between certainty and uncertainty, between the desire for meaning and the destabilisation of meaning. The content encompasses everyday life, love and loss, and the ambiguities are reflected in the forms used, so that, for instance, the linear continuity of narrative and the musicality of the lyric may be juxtaposed with the fragmented and imagistic leaps of the associative poem.
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Bila, Freddy Vonani. "Grieving forests". Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1020880.
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This is a collection of village narrative poems mainly set in rural Limpopo that searches into the complexity of the past and how historical events impact on the present. Although the poems are imagined along the Marxist dialectic, they’re fresh imaginative creations featuring a strong element of surprise, spiritual mysticism, experimenting with form, delving into unknown poetic avenues, creating new music, exploring new sounds and taking risks. The long and intense poem, Ancestral wealth, which is a tribute to the poet’s father, reflects on death and its impact through the effective application of various stylistic elements and poetic devices, thus immortalising the life of a rural South African. Overall the poems, including retrospective and experimental ones, condemn the free market economic system and all that it seems to necessitate: the degradation of ecology, indifference to human suffering and the alienation of vulnerable social groups.
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Bamjee, Saaleha. "My grandmother breaks her hip". Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1020881.
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A collection of narrative and confessional poems. The poems are mostly short, cinematic, physical, imagistic: moments in time. They explore the poet’s own life, body, memories, and family relationships, and the tensions between power, duty, love and faith. Several poems concern the navigation of meaning and belonging in a time when international urban culture often clashes with tradition.
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Cooley, Shevaun. "Homing : poetry ; &, An essay on the poetic leap in the late work of R.S. Thomas". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/850.
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Homing, as a collection, speaks to the capacity and yearning to navigate our way towards something we might call home. In animal behaviour, this seems like an instinct, hard-wired to the body. It is something I envy. By comparison, the instinct, in human behaviour, feels muffled and complicated.
These poems move between two places in which I feel ‘at home’, whatever that means: the south-west of Western Australia, where I was born and raised, and the north-west of Wales, where I lived for a time, and find myself returning to, drawn not by blood, but by longing, and a deep affinity for the landscape. Without any real intention, in the writing of the poems I found I had a lot to say about rivers. In particular, I found myself repeating images of drifting and gripping, as if these two, opposing, compulsions also said something about how we try to find our way home. The poet Mark Doty speaks of a “fierce internal debate between staying moored and drifting away, between holdings and letting go.”1 It is as if the river, too, knows something of how to arrive, and yet its movement is much like that of these poems, pulled by new hungers, at times distracted, or slowed, or apparently lost. Drift. Grip. Perhaps it is, after all, another kind of instinct.
In the critical essay that accompanies the poems, I look at the poetic leap in the work of the Welsh poet and priest R.S. Thomas. I was initially compelled by a strange parallel between an actual physical leap of escape, enacted by Thomas, who leapt a graveyard wall in order to avoid speaking to the mourners to whom he had just ministered a funeral service, and the leap found in Italo Calvino’s essay on lightness. This leap is also one of escape, in which the poet-philosopher Guido Calvcanti places a hand on a grave and leaps lightly over it, in order to elude the taunts of some local louts. Calvino calls this act, “an auspicious image for the new millennium.”2
In poetry we find the leap in the act of making metaphor, in enjambment, even in a kind of concentration. In Thomas’s work, the leap is focused in the form of the raptor; a presence repeated through his oeuvre, carrying with it many of his chief concerns, about God, love, and the inherent ferocity of the natural world. In a close reading of those poems, and with the aid of thinkers as disparate as Helene Cixous, Roland Barthes, Simone Weil and Edward Said, this essay is an attempt to trace the ways the leap works in Thomas’s poetry. It is also an attempt to analyse and understand the way poetry itself works to move the reader, in all senses of the word.
1Doty, M. (2001). Still life with oysters and lemon. Boston: Beacon Press, p.7
2Calvino, I. (2009). Six memos for the new millennium. (P. Creag, Trans.) London: Penguin Classics, p.12
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Watermeyer, Laura. "The gentle pressure of the sky". Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017780.
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A collection of lyrical, imaginative prose, ranging from prose poems to more formal short stories to flash fiction. I challenge the ordinary or commonplace by exploring the realms between fiction and poetry, realism and fantasy, reality and illusion. I would like reading the collection to be a sensory experience, one that draws the reader deeper into the imaginary. Stylistically, I work elements of poetic language into the narrative in order to express the mystery and remoteness that the stories require.
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Temperton, Barbara. "The Lighthouse keeper's wife, and other stories (novel) ; and Ceremony for ground : narrative, landscape, myth (dissertation)". University of Western Australia. English, Communication and Cultural Studies Discipline Group, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0005.
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The focus of this project is on poetry, narrative, landscape and myth, and the palimpsest and/or hybridisation created when these four areas overlay each other. Our local communities' engagement with myth-making activity provides a golden opportunity for contemporary poets to continue the practice long established by our forebears of utilising folklore and legendary material as sources for poetry. Keeping in mind the words of M. H. Abrams who said
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PERDIGAO, MARIANO DA SILVA. "AN EARLY DRAFT OF 21ST-CENTURY BRAZILIAN POETRY". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=10606@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORPartindo da herança deixada pelo panorama poético do século XX, desde o movimento modernista, passando pelo impacto cabralino, até a chegada da poesia dos anos 90, esta dissertação analisa os poetas nascidos a partir de 1975 e estreantes em livro no século XXI, numa tentativa de mapear e marcar o primeiro momento poético brasileiro que vem se formando na primeira década deste novo milênio.
Taking the legacy of 20th-century poetry as a starting point - from the Modernist movement through João Cabral de Melo Neto up to the poetry of the `90s - this thesis analyzes the works of poets born in 1975 or later who published their first books in the 21st century, attempting to map out the early stirrings of Brazilian poetry in the new millennium.
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Galloway, Lisa R. "Liminal : a poetry collection". Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313634.
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This project comprises the best poetry written in my graduate study at Ball State University. The title, Liminal, is a term that has reappeared thematically in my work. Merriam Webster defines it as: "the threshold of a physiological or psychological response," but more than that, for me liminality is the doorframe between things; it is poetry. Poetry is a conglomeration of splicing between inner worlds and outer worlds; it tries to capture and recreate physiological or psychological responses, bringing the reader into the threshold that the writer has exited. Poetry is a door, a threshold; it is liminal. Thresholds are infinite and immeasurable; therefore, I have tried to capture or recreate liminal moments of my life into words that are physical, measurable in a sense, and therefore create presence, inviting readers through the threshold of my literary house out of the liminal abyss. These 36 pages of poetry contain liminal subject matter, whether embodying sexuality, relationships, spirituality, or moments bordering life and death, but always the inestimable line between two things.Department of English
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Chester, Thomas J. "Hard soled shoes : a poetry collection". Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313071.
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Hard Soled Shoes is a collection of poetry designed to appeal to several, specific audiences. The first audience consists of: other poets, creative writers, and literary critics. I have submitted a work drawn from the life experience of a 42 year-old man. I crafted the poems with the academic learning gained from a graduate study of poetry and creative writing. My graduate education has helped me recognize a higher and broader standard in the realm of poetry. It also enabled me to refine my own style of writing; a comfortable mix of song lyrics and image-rich writing.Another group I hope to reach with this collection is a segment of readers who have a limited knowledge of poetry. I feel it is important to reach out beyond the academic community to a broader audience. There are many people outside academia who can appreciate and enjoy good poetry. I chose many poems for this collection that are accessible and relevant to people of many backgrounds, interests, and demographics. The use of humor, meter, rhyme, and familiar characters give the pieces understandable "hooks" to draw the attention of readers. The inclusion of song lyrics and musical devices like refrains bring a familiarity to readers who only have experience of poetry through popular music.My intent is to use simple and clear language to express more complex ideas. Hopefully the depth of subject matter will entice readers to re-read certain pieces and consider new ideas. The use of repetition and rhyme will hopefully bring focus and power to certain poems and create at least a few memorable or quotable lines from the collection.I believe a poetry collection can be an artistic endeavor and still have a broad entertainment appeal. My education has prepared me to recognize and write quality, literary poetry suitable for publication. My years of experience producing creative ideas for media and advertising have made me aware of the challenges of trying to reach a vast audience. I see a hole in the media market. I believe good, accessible poetry could fill a void and successfully satisfy the needs of a specific, literary niche.Department of English
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Higgins, Eric W. "The observing ape : poems". Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1365515.
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The poems in The Observing Ape are arranged into three chapters: "Neighbors," "Making," and "Strangers." At their core, these poems trace the ways in which speakers internalize the exterior world. Although no single narrative unifies the collection, each poem records the consciousness of a speaker as the interior and the exterior intersect. Through persona poems and intensely perceived images, the collection strives to understand how humans learn, observe, and imagine. However, forays into visual art, primatology, and voyeurism color the poems with cultural referents, and these referents infuse the poems with a quirky reverence for a world that stretches beyond a strictly linguistic or personal experience.Department of English
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Sutter, Sara. "The Sea Cow and The Siren". PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/1346.
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Grummitt, Elaine Jennifer. "Heraldic imagery in seventeenth-century English poetry". Thesis, Durham University, 2000. http://etheses.dur.ac.uk/4333/.
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The significance of heraldic references in literature has been the subject of both antiquarian interest and recent scholarship. In the field of seventeenth-century poetry, there exists a small body of published work concerned with the use of heraldry by William Shakespeare, Ben Jonson and Jolin Cleveland. The aim of this thesis is to demonstrate the existence and significance of heraldic references in a wider range of seventeenth-century verse and poetry. It eschews assumptions regarding the use of heraldry by, or with reference to, a narrow social elite, and examines heraldic references published in broadsheets and used in songs, as well as in the privately- circulated manuscripts of the nobility. Chapter One offers a critical examination of a range of current scholarship concerned with heraldic readings of literature. Chapter Two demonstrates that formal heraldic references, affirming or celebrating their subject’s identity, were used in diverse genres, including dedicatory verses, encomia, epitaphs, elegies, epithalamia and anagrams. Chapter Three determines the social implications of the use of heraldry, with particular reference to epic and satirical verse, arguing that heraldic references in this period develop beyond their traditional, chivalric associations. Chapter Four discusses those works that include heraldic references as expressions of authority or political power, and considers their use in different contexts to affirm or undermine the position of individuals and groups within society. Chapter Five establishes the use of heraldry within religious or spiritual poetry and addresses whether its vocabulary was regarded as an expression of particular Christian values. Chapter Six explores the engagement of women writers with heraldry and considers how far their use of the language offered a challenge to the prevailing patriarchal culture. The Conclusion draws attention to the significance of the evolution of heraldry from the seventeenth century to the present day.
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Brox, Robin F. "Tinsel Strength and the Orchid Sheaf". Fogler Library, University of Maine, 2005. http://www.library.umaine.edu/theses/pdf/BroxR2005.pdf.
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France, Angela. "Hide : a 21st century woman's response to the first person in poetry". Thesis, University of Gloucestershire, 2015. http://eprints.glos.ac.uk/3871/.
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This thesis, titled ‘Hide: A 21st century woman’s response to the first person in poetry’ is a creative and critical examination of the challenges and benefits of the first-person approach in poetry. It is in two parts, consisting of a collection of sixty poems and a critical investigation into the research leading to, and engendered by, the poems. Hide is a place from which to observe, hide is skin, hide is deliberate concealment; all of these meanings can be seen to reflect some of the concerns examined in both the creative and critical parts of the thesis. ‘Hide’s’ layers of meaning directly engage with what 'I' we choose to conceal and what 'I' we choose to show, as well as residing on the boundaries between privacy and exposure. The poems spring from investigations of my central concerns of autobiography, family history, the workings of memory, and ancestral knowledge in the form of ‘cunning’. The poems are an active investigation into the challenges and benefits of the ‘I’; the approaches and techniques for using it as well as the reasons for, and strategies involved in, avoiding the ‘I’. The critical part of the thesis is an auto-ethnographic study of the poems in the collection, together with examination of the difficulties faced by women writing in the first-person. The research includes thematic analysis of published reviews, and examination of the critical landscape within which women are writing.
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Taher-Kermani, Reza. "The Persian 'presence' in nineteenth-century English poetry". Thesis, University of Bristol, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658568.
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This thesis examines the 'presence' of Persia' in nineteenth-century English poetry. The focus is not on translations of Persian poetry as such, but on the ways in which knowledge of Persia, derived from a variety of sources including classical and biblical texts, history, and travel-writing, entered into English poetry in the period. Such knowledge may shape the structure of a poem, or Its verbal texture, and may do so at different levels of intensity and significance. This complex phenomenon cannot fully be covered by the term 'influence'; the term 'presence' encompasses a variety of . literary engagements including translation, imitation, interpretation, representation, conscious allusion, and indirect borrowing. The methodology of the thesis is neither that of conventional literary history, in which questions of influence and intertextuality are of primary concern, nor of cultural history, in which literature is seen as part of a broader analysis of the history of ideas. While recognising the importance of recent cross-cultural theories, notably Edward Said's Orientalism, it does not follow ,any theoretical model in its analysis of the poetic adaptation and appropriation of Persian stories, themes, and tropes. The poems themselves, whether considered in categories or as individual works, are the object of attention; particular emphasis is laid on elements that might be less 'visible' to English readers who lack knowledge of Persian literature in its original forms. The aim is to define the nature, and degree, of 'Persian-ness' in nineteenth-century English poetry. The term itself has multiple and shifting associations, but one strong connecting thread may be discerned in the poems discussed: the persistence, through a period in which British encounters with 'modem' Persia were increasing in the areas of diplomacy and trade, and in which knowledge of the country's history, language, and culture was becoming more exact and more detailed, of a fantasised 'Persia', or Persian 'imaginary', compounded of ancient and in some cases mythic elements. Structurally the thesis moves from context to text, and from general to specific: it begins with the provision of necessary contextual information about Anglo-Persian contacts before the nineteenth century, moves on to survey and classify the 'Persian tendency' in poetry of the period, and then offers case-studies of three central works: Matthew Arnold's Sohrab and Rustum (1853), Edward FitzGerald's Rubaiyat ofOmar Khayyam (1859), and Robert Browning's Ferishtah's Fancies (1884).
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Quintanilla, Octavio. "Love Poem with Exiles". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28465/.
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Love Poem with Exiles is a collection of poems with a critical preface. The poems are varied in terms of subject matter and form. In the critical preface, I discuss my relationship with poetry as well as the idea that we inherit poems, and that if we are inspired by them, we can transform them into something new.
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Emig, Rainer. "The end of modernism in English poetry". Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:c02149d4-6f3b-4368-b20e-d8e669514ccf.
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'End' as 'goal' and 'limit' is explored in signs, symbols, metaphors, metonymies, and myths in the works of G.M. Hopkins, Yeats, Eliot, and Pound, before the study examines the aesthetics of modernist poetry which - through psychoanalysis, economy, and language philosophy - presents itself as one facet of the 'modernist project'. Modernist poetry struggles with its material, the lacking motivation of signs, the unstable connection of signifier and signified. Already in Hopkins this creates tensions between mimetic endeavour and construction. Appropriation and distancing as compensation strategies prefigure modernism's tendencies of simultaneous expansion and reduction. They produce impasses, evident in attempts to signify the self: absence, dissolution, and submission to myth, recurring limits in modernist poetry. Yeats's poems avoid mimetic tensions by focussing on opaque signifieds of symbols, intertextuality rather than empiricism. Yet the excluded 'outside' in the shape of history questions works and their creator. Again, silence, dissolution, or superhistoricism become refuges, leading to dissolution of symbols into metaphors and metonymies or their sublimation in myth. Eliot's poems seemingly return to realism. Yet their focussing on everyday life disguises the internalisation of reality in psychological landscapes. Difficulties of drawing borderlines between subject and object(s) result: objects become threatening and characters mutilated in reifications, processes expressed in shifts from metaphor to metonymy. Pound's stabilising strategies reify language itself. His personae try to legitimise poems by incorporating histories of others, but produce overcharge and disintegration. Imagism refines modernism's reductive move, but creates monadic closure. Attempts at impersonality and superhistoricism lead to the dominance of the suppressed. Vorticism's construction/destruction dialectic does not tolerate 'works'. Only the ideogrammatic method achieves the shift to signifiers only which enables poems to 'include' reality and history at the cost of blindness towards themselves. Psychoanalysis displays analogies in its holistic concepts and simultaneous internal delineations, its distrust of signs and incomplete and lacking constructs deriving from them. Modernist poetry's struggle with tradition in order to legitimise its existence mirrors the individual's subjection to the 'law of the father'. Individuation is achieved by mutilation; the return to imaginary wholeness preceding it, although Utopian goal, remains impossible; it appears in poems as self-destruction. The economy of modernist poems shows their fight against expenditure, creation of artificial value through symbols, eventually a reductio ad absurdum in poems producing only themselves in reification. Work and subject become borderlines when reality shifts into the text altogether and the signified is eliminated. Language philosophy reproduces the positions of modernist poems towards reality, admitting the separation of language and objects: Nietzsche in disqualifying truth, Wittgenstein uncovering language's impotence. Again the excluded appears as the mystical which Heidegger re-integrates by setting up language as reality's creator and receptacle of Being. The nominalist upside-down turn of his linguistic universe is analogous to modernism's myth of itself. Adorno criticises the closed nature of works as statements and advocates a 'true' modernism in the fragmentation of the work and openness towards heterogeneity. Like Baudrillard, he stresses the riddle of art which permits its orbital position, neither detached from societal conditioning nor completely subjected to it, thus capable of unveiling the relativity of master-narratives. The 'true' modernist poem displays its tensions and 'sacrifices itself in order to remind its reader of the damages of existence.
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Jung, Sandro. "The poetic fragment in the long eighteenth century". Thesis, University of Wales Trinity Saint David, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683194.
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Williamson, Paul. "The metaphysical basis of mid eighteenth-century English poetry". Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314489.
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Howard, William Scott. "Fantastic surmise : seventeenth-century English elegies, elegiac modes, and the historical imagination from Donne to Philips /". Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/9527.
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Musty, Emma. "A short history of lines". Thesis, Aberystwyth University, 2016. http://hdl.handle.net/2160/c4aa2292-b43a-4d1f-bb59-b3cea766cb02.
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Moore, Marshall. "Inhospitable : a novel". Thesis, Aberystwyth University, 2016. http://hdl.handle.net/2160/17c43877-5c4e-4d9b-b0aa-881667fbd5c0.
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Chang, Kwai-yan. "Will the English language become the single world language in the 21st century?" Click to view the E-thesis via HKUTO, 2001. http://sunzi.lib.hku.hk/hkuto/record/B42575709.
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Oeding, Carrie A. "Nobody Knows What to Say". Ohio University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1178651332.
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Oprava, David E. "Once America : 50 expats, 50 interviews, 50 poems". Thesis, Swansea University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678534.
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Lowe, Jeremy. "Desiring truth : the process of judgment in fourteenth-century art and literature /". Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/9463.
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Goodridge, John Anthony. "Rural life in English poetry of the mid-eighteenth century". Thesis, University of Newcastle Upon Tyne, 1990. http://hdl.handle.net/10443/1052.
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This thesis examines several mid-eighteenth century poems, assessing their portrayal of rural life, its literary and historical significance, and the aesthetic and ideological issues it presents. An introductory essay on developments in rural poetry sets'the scene for two extended essays. The first essay is a comparative reading of the subject of rural labour in three poems: James Thomson's The Seasons %724-40, Stephen Duck's The Thresher's Labour (1730,1736) and Mary Collier's The Woman's Labour The viewpoints of a professional poet (Thomson), a farm labourer (Duck), and a working woman (Collier) are compared in relation to kinds of work all three address as well as to individual labouring subjects. The responses of the three poets to such related issues as folk traditions, forms of charity and other 'compensations', are also compared. Some surprising similarities as well as instructive differences are located; and an interesting picture of idealistic and realistic, male-oriented and female-oriented attitudes to labour and labour-related themes emerges. The second essay analyses the subject of agricultural prescription in John Dyer's The Fleece (1757). Drawing on interdisciplinary information, the essay makes a sequential reading of the first book of the poem, whose subject is 'the care of sheep'. It traces the historical and poetic significance of Dyer's advice on land use and environment, breeding and types of sheep, husbandry and veterinary practice. The poet's theoretical models, his use of topography and of epic and pastoral, didactic and popular styles is examined. Dyer is found to make a substantial engagement with contemporary agricultural developments, but also to draw on idealising models of agricultural history and economic development, uniting the contrasting imperatives of the 'practical' and the 'poetical'. Dyer's belief that shepherding provided an important model for society; and his intense engagement with agriculture, inform a complex pattern of mixed motivations.
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Myers, Jeffrey Alan. "A rebirth of sight : a book of poems". Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285588.
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The following project is representative of both my struggles and achievements as a student of creative writing. The poems contained within were developed through a virtual restructuring of my creative process. With the exception of one sonnet and two haiku poems, the remaining creations are free-verse experiments, heavily influenced by the works of James Wright, Robert Bly, and Robert Creeley. My goal for each poem was to connect the verse with those rare and fleeting moments in life that are often overlooked. In order to achieve this goal, I had to venture a little deeper into the realm of both imagination and possibility, without, of course, completely letting go of reality. Essentially, each poem explores two distinct worlds: that which is contained in the heart and that which the heart can never attain.Department of English
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Raulerson, Joshua Thomas. "Singularities: technoculture, transhumanism, and science fiction in the 21st Century". Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/2968.
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A spectre is haunting contemporary technoculture: the spectre of Singularity. Ten years into a century thus far characterized chiefly by the catastrophic failure of global economic and political systems, deepening ecological anxieties, and slow-motion social crisis, the only sector of our collective cultural myth of Progress still vibrantly intact is the technological - a project which, in vivid contrast to the systemic failure that seemingly prevails at nearly every other level, continues to charge forward at breakneck speed. Since the late twentieth century, prompted by the all-but-exponential growth of machine intelligence and global information networks, and by the still largely obscure but increasingly profound-seeming implications of emerging nanotechnology, futurists and fabulists alike have postulated an imminent historical threshold whereupon the nature of human existence will be radically and irrevocably transformed in a sudden explosion of technological development. This moment of transcendence, it is supposed, is at most only a few years off; indeed, some say, it may have already begun. The "Singularity" - a term coined in 1986 by the mathematician and science fiction writer Vernor Vinge, and subsequently adopted throughout technocultural discourse - is at present the primary site of interpenetration between technoscientific and science-fictional figurations of the future, an area in which the longstanding binary distinctions between science and SF, and between present and future, are rapidly dissolving. As much as the Singularity thesis implies a total reorganization of society and of the self - which posthumanist cultural studies and cyborg theory have already begun mapping - it also poses a daunting existential challenge to the enterprise of SF itself, to the extent that the Singularity imposes what Vinge has described as "an opaque wall across the future," an impenetrable cognitive obstacle beyond which the extrapolative imagination cannot glimpse. For a genre long defined by its efforts to assert, through the narrative technique of extrapolation, a meaningful continuity between present and future, the Singularity presents a thorny problem indeed, demanding both a reevaluation of SF's conception of and orientation toward the future, and a new narrative model capable of grappling with the alien and often paradoxical complexity of the postsingular.
This study is an inquiry into the properties and problematics of Singularity across fictional and nonfictional discourses, and as such it operates on two levels. Reading Singularitarian literature against a broadly articulated context of fringe-science and transhumanist movements, consumer culture, political and economic theory, and related areas of contemporary cyber- and technoculture, I examine how the metaphor of Singularity structures and signifies the aspirations and anxieties of late-twentieth and early twenty-first century technocivilization. As a project of literary criticism specifically, the study works to identify and theorize a grouping of texts that is emerging from cyberpunk and postcyberpunk tendencies in contemporary SF, organized around the premises of Singularity and the posthuman, and classifiable primarily in terms of an attempt to mount a response to the formal and conceptual problems Vinge has identified. Primary readings are drawn from a wide-ranging selection of twentieth- and twenty-first-century technocultural fiction, with emphasis on SF works by Charles Stross, Cory Doctorow, Neal Stephenson, Bruce Sterling, Rudy Rucker, and William Gibson.
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Maxwell, Catherine. "Looking and perception in nineteenth century poetry". Thesis, University of Oxford, 1990. http://ora.ox.ac.uk/objects/uuid:8f4ff9be-6c07-4060-b777-6a7402d024c7.
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The thesis examines a series of nineteenth century poets whose poems are concerned with complex relations of looking and perception, and concentrates on Shelley and the poets he influenced: Browning, Rossetti, Swinburne, and Hardy. It focusses on poems dealing with the visual arts and aesthetic modes of perception, and concludes with a study of Walter Pater - an unrecognised follower of Shelley - and his notions of artistic character. An emphasis on the way face and bodily form are scrutinised, in poems concerning painting, sculpture and portraiture, leads to the hypothesis that the way the poet pictures essence or character through corporeal form is correlative to the essence or character of his own poetry. The particular spatial relations and visual representations of the poetry provide an index to specific patterns of reading. At the heart of this examination is a Shelleyan conception of the "unsculptured image", the characterising force and pre-given perspective of a poet's poem, which has a primary shaping effect on his language and representations, and continues to exert itself in the poem's reading. As this "image" is an imaginative rather than purely linguistic force, the analyses of selected poems avoid reduction to considerations of language and rhetoric alone, seeking rather to engage with the question of what constitutes a writer's own essence or particularity and what gives a strong poem its compulsive power. The thesis draws on the work of the French literary critic Maurice Blanchot to inform its ideas of poetic space and depth, and to produce an understanding of the poetic text very different from that given by a classical reading; and so alter the way one perceives the poem as literary object. In addition to this, certain nineteenth century and earlier aesthetic writings, and the prose works of the poets themselves, establish the critical basis of the arguments advanced. The thesis also endeavours to follow through the arguments of traditional scholarship in order to provide critique on distinctions or departures made. Chapter I examines Shelley's 'On the Medusa of Leonardo da Vinci in the Florentine Gallery'; Chapter II deals with portraiture in Browning's 'My Last Duchess' and Rossetti's The Portrait'; Chapter III turns to the sculpture of the hermaphrodite in Swinburne's early lyric 'Hermaphroditus'; Chapter IV looks at Thomas Hardy's poems about sketches and shades; Chapter V is an epilogue in which the work of Walter Pater draws together the ideas developed in the rest of the thesis.
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Dowdy, Michael Wagner-Martin Linda. "From printed page to live hip hop American poetry and politics into the 21st century /". Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,194.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2006.Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of English in the Department of English." Discipline: English; Department/School: English.
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Madrid, David G. C. "In Search of Elysium: Spanish Poetry of Difference at the Dawn of the 21st Century". University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1468574822.
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Williams, Colby D. "Reading 9/11 in 21st Century Apocalyptic Horror Films". Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_theses/116.
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The tragedy and aftermath of the 9/11 terrorist attacks are reflected in American apocalyptic horror films that have been produced since 2001. Because the attacks have occurred only within the past ten years, not much research has been conducted on the effects the attacks have had on the narrative and technological aspects of apocalyptic horror. A survey of American apocalyptic horror will include a brief synopsis of the films, commentary on dominant visual allusions to the 9/11 attacks, and discussion of how the attacks have thematically influenced the genre. The resulting study shows that the terrorist attacks of September 11, 2001, have shaped American apocalyptic horror cinema as shown through imagery, characters, and thematic focus of the genre.
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Yamada, Hiroshi. "Developing 21st century skills in language teaching: A focus on English education in Japan". Doctoral thesis, Kyoto University, 2021. http://hdl.handle.net/2433/263736.
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京都大学新制・課程博士
博士(人間・環境学)
甲第23275号
人博第990号
京都大学大学院人間・環境学研究科共生人間学専攻
(主査)准教授 金丸 敏幸, 教授 桂山 康司, 准教授 笹尾 洋介, 教授 田地野 彰
学位規則第4条第1項該当
Doctor of Human and Environmental Studies
Kyoto University
DGAM
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Daniels, Rosemary. "Women's place in men's poetry: The creation of a beata femina in women's poetry of the eighteenth century". Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/29093.
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This dissertation examines a group of female writers in the eighteenth century, the Countess of Winchilsea, Sarah Fyge, Mary Chudleigh, Elizabeth Singer Rowe, Mary Collier, Mary Leapor, Ann Yearsley, and Anna Barbauld, who reconfigured elements of an authoritative generic mode, the georgic. In undertaking this reconfiguration these women developed their own distinctive tradition of verse which I describe as a portrayal of a beata femina . The poetry of the beata femina acknowledges the separate sphere to which eighteenth-century mores restricted women and privileges the life of that sphere. Thus the narrative of the beatus vir is not figured as an appeal to rural retirement so much as a gendered escape from a male dominated world into a female life of the mind. The traditional affirmation of the georgic labour of the estate is transformed into a testimony of domestic labour. The country-house poem is rewritten to celebrate the women who give it life, while the topographical survey is reordered as a means for women to survey their own narratives.
However, the most significant way in which these women establish a sense of a beata femina within georgically inflected verse is through their employment of time. Women's poetry in this mode self-consciously rejects both the seasonal cycles and sense of historic progression associated with the georgic. Instead, women describe short periods of time within their quotidian lives in which they experience pleasure, connect to nature or other women, and, often, achieve transcendent experiences which seem to stand outside time.
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Lindesay, Tamar. "The sound of the city collapsing : the changing perception and thematic role of the ruin in twentieth-century British and American poetry". Thesis, University of South Wales, 2003. https://pure.southwales.ac.uk/en/studentthesis/the-sound-of-the-city-collapsing(a371d1ec-c3ea-407a-a1f3-227d87559b3f).html.
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Pascolini-Campbell, Claire. "François Villon in English : translation and cross-cultural poetic influence". Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11827.
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This thesis argues that François Villon becomes a significant, but overlooked, influence in the tradition of English poetry, and that this influence reveals itself in translations, adaptations, and responses to his work. By focusing on the way in which numerous high profile poets in the United Kingdom and the United States have reacted to Villon, this study will posit that the reasons behind the appeal of his oeuvre as a source text lie both in the protean nature of his narrative voice and in the myth of his life. The inter-lingual intertextual relationships established through translation and the residue of Villon in English poetic tradition will be presented by means of five case studies, all taking the work of a specific poet as their theme: Algernon Charles Swinburne; Dante Gabriel Rossetti; Ezra Pound; Basil Bunting; and Robert Lowell. These five poets are presented as being exemplary of a greater tradition of translating Villon into English, and will take the reader from the first verse translations of his work in the nineteenth century, to postmodern adaptations and parodies of Villon in the twentieth. They will illustrate the specified intertextual relationships that exist both between source text and target text, and the work of one translator and another, thereby demonstrating the accumulation of influences at play in any one translation of this medieval French poet. In so doing, this thesis will also explore translation and adaptation as dialogical and transformative spaces, distinct from other genres in their ability to establish cross-cultural and interlingual intertexts. Translation and adaptation as spaces of cultural and linguistic hybridity will be demonstrated by observing some of the ways in which Villon has left his mark on English verse, and some of the Villons that anglophone poets have created in their turn.
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Matthews, Samantha. "Representations of the grave in nineteenth century English poetry : a selected commentary". Thesis, University College London (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300631.
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Kwok, Kar-yan Bonnie, e 郭嘉恩. "Language attitudes in Hong Kong: the status of Putonghua and English in the 21st Century". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29522717.
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