This thesis examines the complex intersections between Derek Walcott’s Omeros and modernist versions of the epic. Critics generally acknowledge the pervasive presence of modernist allusions in Walcott’s early work, but see the relevance of modernism diminishing as Walcott develops his “mature” poetic strategies of mimicry and hybridity. I challenge this reading of Walcott, arguing that the modernist practices of Ezra Pound in The Cantos, T.S. Eliot in The Waste Land, and Hart Crane in The Bridge are crucial to illuminating the central theme of cultural healing in Walcott’s most ambitious work, Omeros. These four authors share the goal of creating an epic poem that encapsulates the experiences of modernity (the modern epic). Walcott adopts and transforms elements from The Cantos, The Waste Land and The Bridge in order to articulate the complex relations among self, tradition, land, and language that can allow the postcolonial subject to overcome the traumatic legacy of imperialism in the Caribbean. I define the relation between Omeros and its modernist intertexts according to this pattern of imitation and divergence (which Joseph Farrell calls the pattern of imitatio and aemulatio in the epic tradition). I organize my dissertation into four chapters, each focused on a particular issue: the process of redefining the epic, the construction of indigenous status by means of myth and imperialism, the search for alternative modes of understanding the past that would resist the hegemony of chronological history, and the mystical process of cultural healing that synthesizes the human, the divine, and the natural world. This study demonstrates the tremendous utility and ideological ambiguities generated by the specific practices of ii literary modernism when Walcott deploys them to articulate his cultural vision. My approach to Omeros provides a corrective to the critical tendency to view modernism in the postcolonial milieu as either the postcolonial artist’s response to the conditions of modernity or as a tradition whose form and meaning is radically transformed by a postcolonial vision. Walcott’s relation to modernism suggests that this postcolonial cultural vision is itself shaped by modernist poetics in ways that both empower and constrain. / Thesis (Ph.D, English) -- Queen's University, 2007-08-27 11:56:30.559

The central thesis of this work is twofold: (1) contrary to the images perpetuated in works of criticism, there exists no sustained misogyny in the text of exemplar epics by Ferdowsi and Homer, or antagonism toward women rooted in the poets' attitude, and (2) using the principle of androcentric (rather than gynocentric) feminist literary theory we have tried to prove the existence of a "systematic inconsistency" in the roles and images assigned to the women of The Shahnameh, the Iliad, and Odyssey. We have identified the presence of a double structure concerning the question of women. Instead of endlessly praising the female characters, or fully condemning the portrayal of such figures, we have instead tried to turn the issues around and examined opposed aspects in female roles and images. We have examined the conflict of opposites and the systematic inconsistency within each text in which a double structure splits the female image in two directions: one force is represented by exalted, praiseworthy, and positive images endowing women with powerful characteristics such as prowess, courage, wisdom, insight, fearlessness, and a host of other attributes. Yet within the same text, the same woman, through another force, is not only relegated to a subservient role, but also finds imposed upon her the condition of not being taken seriously, severe handicaps regarding her full integration in the social fabric of the story, and not being allowed to use her considerable abilities. Within this paradoxical double structure, it is not that one structure eventually cancels out the other, rather the coexistence of both structures in the same work results in the readers' suspension between the conclusions each of them separately urges. / The dichotomy in the characterization of women in epic literature is not limited to a single culture; a consistent thread runs through the universal inconsistency in the make-up of women in epic. The thread runs across the border between the East and the West, wherever that border may be drawn on the map geographically, historically, or culturally.

This dissertation examines the relationship between sympotic and rhapsodic discourses and the Homeric epics and specifically considers how an understanding of sympotic discourse can affect an external audience’s perception of events within the narrative. Heroic feasting is examined and defined as an activity which signifies different attitudes and aesthetics than the symposium. Yet a case is made for the possibility that Greek people are practicing symposia at a time when rhapsodes – the creative composers-in-performance of the epics – would have been freely incorporating material from the contemporary world into their performances. This is a period of time extending over much of the 7th century, and perhaps even into some time before and after. I analyze both the symposium and rhapsodic performances as discourses, using literary, archaeological, epigraphic, and iconographic evidence to define markers – certain signs, gestures, attitudes, accoutrement, and behavior specific to each – of each discourse. By treating the symposium and rhapsodic performances as discourses with their own markers, I establish a methodology with which to examine certain passages of the epics and the implicit meanings conveyed in them. Odysseus is thus shown to be manipulating sympotic discourse in the Phaeacian episodes of the Odyssey in order to win a favorable return home – at least as the contemporary external audience familiar with sympotic conventions of speaking and behaving would have understood it. Achilles too is treated, with specific reference to his behavior in the embassy scene of the Iliad. The sympotic discourse conveyed by the actions and attitudes of Achilles and Patroclus can be shown to communicate additional layers of meaning to the external audience and perhaps reference extra-Iliadic motifs concerning Achilles’ behavior at symposia. A proper understanding of rhapsodic and sympotic discourses within the epics not only contributes to a more nuanced understanding of character behavior within the epics and audiences’ perception of such behavior, but also challenges our understanding of the role of archaic social institutions such as the symposium within the epics.

"This project has, for its central component, an epic poem, 'A locale of the cosmos'. The accompanying exegesis examines epic as an ancient, but continually evolving form. It argues that, as a contemporary example of the genre and, as a sustained poetic rumination on landscape and memory, 'A locale of the cosmos' represents a significant development within the modern tradition of autobiographical epic. In broader terms, 'A locale of the cosmos' privileges the landscape and history of a region of Australia, the Wimmera region of north-western Victoria and, in doing so, explores the cumulative effects of the physical environment as a site for sustained poetic treatment. The poem is, therefore, an epic of both historical narrative and philosophical reflection, giving meaning to and interpreting ideas of space, place and locale. "Furthermore, it explores, in particular, the psychological and spiritual effects of vast horizontal distances, created by a landscape in which endless plains and immense horizons form an analogue of the wider cosmos. The poem's themes, therefore, bear not only on the prominences of the visible locale, but also explore the salients of an interior world, a landscape of the mind to which the poetry gives shape and meaning." / Doctor of Philosophy

"This project has, for its central component, an epic poem, 'A locale of the cosmos'. The accompanying exegesis examines epic as an ancient, but continually evolving form. It argues that, as a contemporary example of the genre and, as a sustained poetic rumination on landscape and memory, 'A locale of the cosmos' represents a significant development within the modern tradition of autobiographical epic. In broader terms, 'A locale of the cosmos' privileges the landscape and history of a region of Australia, the Wimmera region of north-western Victoria and, in doing so, explores the cumulative effects of the physical environment as a site for sustained poetic treatment. The poem is, therefore, an epic of both historical narrative and philosophical reflection, giving meaning to and interpreting ideas of space, place and locale. "Furthermore, it explores, in particular, the psychological and spiritual effects of vast horizontal distances, created by a landscape in which endless plains and immense horizons form an analogue of the wider cosmos. The poem's themes, therefore, bear not only on the prominences of the visible locale, but also explore the salients of an interior world, a landscape of the mind to which the poetry gives shape and meaning." / Doctor of Philosophy

Thesis (Ph. D.)--Ohio State University, 2007. / Full text release at OhioLINK's ETD Center delayed at author's request

Thesis (M.A.)--University of Missouri-Columbia, 2008. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 28, 2008) Vita. Includes bibliographical references.

Thesis (Ph. D.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 24, 2009) Vita. Includes bibliographical references.

Habilitationsschrift--Freiburg i. B. / Bibliographical references included in "Abkürzungen" (p. [ix]-xiv) Bibliographical footnotes.

Published also as Thesis (Ph. D.)--Johns Hopkins University, 1892. / "Bibliography of translations": p. xi-xii.