Дисертації з теми "Hard poems"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-18 дисертацій для дослідження на тему "Hard poems".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Переглядайте дисертації для різних дисциплін та оформлюйте правильно вашу бібліографію.
Zhang, Wenyu. "Poems easily written in a hard life." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/7054.
Повний текст джерелаDyer, Gregory A. "Playing Jonah's Hand: Poems." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2472/.
Повний текст джерелаBaker, Susan Fortune Ron Morgan William Woodrow. "Thomas Hardy's "Figure in the carpet" a study of the "Poems of 1912-13" /." Normal, Ill. Illinois State University, 1996. http://wwwlib.umi.com/cr/ilstu/fullcit?p9720804.
Повний текст джерелаTitle from title page screen, viewed May 30, 2006. Dissertation Committee: Ronald Fortune, William W. Morgan (co-chairs), Janice Neuleib. Includes bibliographical references (leaves 152-159) and abstract. Also available in print.
Kronsbein, Kari Denise. ""Had we our senses": Emily Dickinson's Envelope Poems and Materiality." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1611.
Повний текст джерелаVan, Der Watt Gerhardus Daniël. "The songs of Gerald Finzi (1901 - 1956) to poems by Thomas Hardy." Online version, 1996. http://bibpurl.oclc.org/web/27859.
Повний текст джерелаBell, Susan. "Verse into Song Composers and their settings of poems by Thomas Hardy: 1893 - 1928." Thesis, Loughborough University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492734.
Повний текст джерелаTait, Adrian Geoffrey. "From 'Wessex Poems' to 'Time's Laughingstocks' : an eco-critical approach to the poetry of Thomas Hardy." Thesis, Open University, 2010. http://oro.open.ac.uk/54660/.
Повний текст джерелаDickson, Lesley. ""A silence that had to be overcome" : 50 poems and a personal statement on poetics." Thesis, University of Aberdeen, 2012. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=192181.
Повний текст джерелаTamai(Nagamori), Akemi. "Thirteen Ways of Looking at a Victorian Woman: Representation of Sexuality in Thomas Hardy's Last Three Novels and Balladic Poems." Kyoto University, 2019. http://hdl.handle.net/2433/245326.
Повний текст джерела0048
新制・課程博士
博士(人間・環境学)
甲第22131号
人博第914号
新制||人||218(附属図書館)
2019||人博||914(吉田南総合図書館)
京都大学大学院人間・環境学研究科共生文明学専攻
(主査)教授 水野 眞理, 教授 桂山 康司, 准教授 池田 寛子, 教授 金子 幸男
学位規則第4条第1項該当
Greve, Curt Michael. "Raw." University of Dayton / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1311189062.
Повний текст джерелаWheeler, Belinda. "At the center of American modernism Lola Ridge's politics, poetics, and publishing /." Connect to resource online, 2008. http://hdl.handle.net/1805/1683.
Повний текст джерелаTitle from screen (viewed on June 2, 2009). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Jane E. Schultz, Thomas F. Marvin. Includes vita. Includes bibliographical references (leaves 57-61).
Turley, Paul. "The Poetic Invitation Exploring manifold experience in easy poems." Thesis, 2018. http://hdl.handle.net/2440/120156.
Повний текст джерелаThesis (MPhil) -- University of Adelaide, School of Humanities, 2019
Cohen, Lyndsey Kara. "Head Heart Hand." 2008. https://scholarworks.umass.edu/theses/135.
Повний текст джерелаVan, der Watt Gerhardus Daniël. "The songs of Gerald Finzi (1901-1956) to poems by Thomas Hardy." Thesis, 1996. http://hdl.handle.net/10500/16287.
Повний текст джерелаHierdie studie beslaan twee volumes. Volume II behels die analise van een-en-vyftig liedere van Gerald Finzi ( 1901-1956) na tekste van Thomas Hardy ( 1840-1928). Die analises is gebaseer op 'n vooraf ontwrepte model op grond waarvan die tekste krities geevalueer, en die basiese musikale elemente bestudeer is. Sekere stilistiese tendense wat uit hierdie studie blyk, word in Volume I weergegee. Na 'n kort biografiese skets van beide kunstenaars en 'n bespreking van die tekste, word 'n uittreksel van die analise aangebied. Hiema volg 'n ondersoek na die basiese elemente van musiek: toonkleur, toonduur, toonhoogte, toonstrekte, tekstuur, struktuur en die skep van atmosfeer. Volume I sluit af met 'n samevatting van die stylkenmerke en 'n slotbeskouing van beide kunstenaars se geniale bydrae. Finzi se toonsetting van 'n relatief groot aantal gedigte van Hardy spruit uit sy intense belangstelling in die Engelse letterkunde en sy vereenselwiging met die persoonlike filosofee van Hardy - veral die gedagte van onnodige lyding in 'n apatiese wereld. Finzi toonset hoofsaaklik in 'n tonale styl, maar ondersoek 'n groot verskeidenheid delikate atmosfeerskeppinge binne die tonale raamwerk. Sy deklamering van tekste is van hoogstaande gehalte en die komponis bring 'n pesoonlike uitdrukkingsvorm, ongeewenaar in die liederkuns van die eerste helfte van die twintigste eeu in Engeland, tot stand
D.Mus. (Musicology)
Chen, Kevin Huang-yu, and 陳皇宇. ""Anxious Pleasures and Pleasurable Anxiety": Frank O''Hara''s Love Poems to Vincent Warren." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/12214974692305506285.
Повний текст джерела國立臺灣師範大學
英語研究所
91
Between 1959 and 1961, Frank O''Hara wrote a sequence of love poems to Vincent Warren. When O''Hara was in love with Warren, his love poems were hemmed around by anxieties: anxiety about the oppression of homosexuality, anxiety about the lapse of the fleeting moments, and anxiety about the end of the relationship. Revolving around three interconnecting topics─the esoteric, ephemeral and erotic─in O''Hara''s love poems, this thesis investigates these three detailed elements as a way of re-creating and re-conceptualizing a model of O''Hara''s gay life in mid-twentieth-century America. This thesis discusses, at a time when gay men were marginalized and treated as sexual perverts by the homophobic society, how and why O''Hara reveals his love to Vincent Warren in an esoteric way, how O''Hara re-creates the fleeting moments of love, happiness and sex and transforms the motif of "Seize the day!" into "seizing the day" in his gay carpe diem poetry, and finally focuses on the erotic moment and sees how O''Hara uses sexuality to transcend to another world. Introduction presents the background of O''Hara''s love poems to Vincent Warren, historicizing the homosexual oppression in the 1950s and 1960s. Living at a time of inescapable anxiety, O''Hara senses the hostility against homosexuality and depicts the pain of gay men''s wearing the masks in New York in "Homosexuality," in which his 1954 love manifesto that "I want to be wanted more than anything else in the world" not only voices his pain of being gay in search of a lover but also pre-dates his relationship with Warren between 1959 and 1961 (Collected Poems 182). Chapter One discusses why and how O''Hara expresses his love to Vincent Warren in a secret way. When facing a homophobic society and culture, O''Hara does not choose to daringly confront the public; instead, he manages to survive in that homophobic society. In order to survive, O''Hara is aware that he needs to be careful and hide his love. Thus, in almost all of O''Hara''s love poems to Vincent Warren, the poet uses an esoteric language of camp to reveal his intense feelings to Vincent Warren and conceal the homosexual content from the heterosexual majority as we can see in "Having a Coke with You," "Poem V (F) W," and "St. Paul and All That." Chapter Two demonstrates how O''Hara deals with the fleeting moments of love and happiness and transforms the traditional carpe diem motif in his love poems to Vincent Warren. Facing polymorphous oppression in real life, O''Hara writes gay carpe diem poetry to stand against the flow of time; in a way, O''Hara is enacting the carpe diem spirit in the love poems. I use traditional carpe diem poetry as examples of antithesis to O''Hara''s gay carpe diem poetry. Instead of saying, "Let’s seize the day," O''Hara is already celebrating the immediate present as we can see in "Personal Poem," "Steps," and "Sudden Snow." Chapter Three extracts the erotic moment from the ephemeral moments of pleasures. I use Whitman''s Section 11 of "Song of Myself" as an example of antithesis to O''Hara''s erotic poems and demonstrate that while Whitman celebrates the male body and sexuality in part to fulfill his erotic imagination, O''Hara uses the body as a sexual diving board to jump to a spiritual world. I argue that O''Hara attempts to capture and re-create the erotic moment of his jumping to the spiritual world and the subsequent falling back to the earth in the erotic love poems to Vincent Warren as we can see in "Poem [Twin spheres full of fur and noise]," "Poem ''À la recherché d'' Gertrude Stein,''" "You Are Gorgeous and I''m Coming," and "To You." Conclusion summarizes the previous discussion and examines the three elements again in the final break-up poem; indeed, "Poem [lost lost]," a poem written after the end of the relationship, is less esoteric, less ephemeral and less erotic. After the relationship ends, O''Hara, though free from certain anxieties, suffers from an immense sense of loss; his love poems lack the nourishment of love. O''Hara no longer feels the "anxious pleasures and pleasurable anxiety" when the relationship comes to an end (Collected Poems 406).
Chang, Fei-chin, and 張斐欽. "Remembrance and the Scene-Feeling Device in the Mourning Poems of Yuan Zhen and Thomas Hardy." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/32168704884987985805.
Повний текст джерела東吳大學
英文學系
103
Yuan Zhen and Thomas Hardy, for their deceased wives, composed the finest mourning poems in Chinese and English literatures. Their poems demonstrate that remembrance and the scene-feeling relationship are two of the most essential devices for such lyrics. Remembrance serves to induce the poet back to the past and make a parallel between the past and the present, but there is always a gap of experience, memory, and time. Therefore, the remembrance is incomplete in itself. Consequently, the two poets have to resort to the act of remembering continuously for the expression of the feelings and the recapture of the past as a lost fullness. On the other hand, the scene-feeling relationship, a classical Chinese poetic notion, vitally and covertly reiterates the core emotions of the mourning poems of Yuan Zhen and Hardy. Within the description of the present scenes and the depiction of the past, the poet’s grief and mourning are recurrently conveyed, but without dull repetitiveness. Albeit Hardy’s mourning poems follows the Western poetic tradition, this thesis tries to affirm that the remembrance and the scene-feeling relationship provide common basis for comparison and interpretation of the mourning poems of Yuan Zhen and Hardy, as well as to offer a new perspective to read the English mourning poems.
Allard, Caroline. ""Every poem breaks a silence that had to be overcome" : En kvalitativ undersökning av svensklärares attityder till lyrikundervisning." Thesis, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-32603.
Повний текст джерелаWheeler, Belinda. "AT THE CENTER OF AMERICAN MODERNISM: LOLA RIDGE’S POLITICS, POETICS, AND PUBLISHING." Thesis, 2008. http://hdl.handle.net/1805/1683.
Повний текст джерелаAlthough many of Lola Ridge's poems champion the causes of minorities and the disenfranchised, it is too easy to state that politics were the sole reason for her neglect. A simple look at well-known female poets who often wrote about social or political issues during Ridge's lifetime, such as Edna St. Vincent Millay and Muriel Rukeyser, weakens such a claim. Furthermore, Ridge's five books of poetry illustrate that many of her poems focused on themes beyond the political or social. The decisions by critics to focus on selections of Ridge's poems that do not display her ability to employ multiple aesthetics in her poetry have caused them to present her work one-dimensionally. Likewise, politically motivated critics often overlook aesthetic experiments that poets like Ridge employ in their poetry. Few poets during Ridge's time made use of such drastically varied styles, and because her work resists easy categorization (as either traditional or avant-garde), her poetry has largely gone unnoticed by modern scholars. Chapter two of my thesis focuses on a selection Ridge's social and political poems and highlights how Ridge's social poetry coupled with the multiple aesthetics she employed has played a part in her critical neglect. My findings will open up the discussion of Ridge's poetry and situate her work both politically and aesthetically, something no critic has yet attempted. Chapter three examines Ridge’s role as editor of Modern School, Others and Broom. Ridge's work for these magazines, particularly Others and Broom, places her at the center of American modernism. My examination of Ridge's social poetry and her role as editor for two leading literary magazines, in conjunction with her use of multiple aesthetics, will build a strong case for why her work deserves to be recovered.