Elizabeth Bishop's phenomenal rise in the academic canon is due in large part to the way her writings about Brazil correlate with current critical concerns. However, U.S. scholars have relied on an inchoate understanding of Bishop's sociohistorical contexts as she performed complicated and at times contradictory Brazil(s). Using Yi-Fu Tuan's methodology of space and place and James Clifford's dichotomy of routes/roots, I delineate between four discrete Brazil(s) in Bishop's texts. Shifts between these Brazil(s) are predicated on changes in Bishop's relationship with her Brazilian partner, Lota Macedo de Soares. I explore the eleven poems of the "Brazil" section of Questions of Travel and "Crusoe in England," as well as the introductions and translations she worked on contemporaneously. Bishop's tourist poems examine the tension between her expectations of the banana-ized Brazil of the popular Carmen Miranda movies, and the reality that she discovered as she moves from a tourist-voyeur to a rooted expatriate. In her Samambaia poems, she writes from the position of insider/partner about the subaltern public sphere that Lota has created at her farm outside of Rio de Janeiro. The volatility of the Brazilian political situation, which Bishop blamed for the dissolution of her relationship with Lota, led Bishop to define the primitive aspects of Brazil that Lota disdained. Finally, I argue that her translation strategies as she writes about Brazil after Lota's death in 1967 are a nostalgic return to her earliest views of Brazil. / text

Thesis (Ph. D.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 271-284).

This thesis consists of a collection of poems and a critical preface. The preface is a discussion of Elizabeth Bishop's descriptive mode, as demonstrated by three of her poems: "Sandpiper," "The Monument," and "Santarém." I argue for Bishop's descriptions as creative acts, and examine the gestures that help her make the reader aware of the shaping power she exercises.

This collection of original poetry is preceded by a critical introduction that details how Marianne Moore and Elizabeth Bishop’s similar aesthetics in poetry have influenced my own. The following poems focus on themes that challenge the nature of “manhood,” particularly the archetype of Southern masculinity, and highlight characters who struggle to understand themselves, their desires, and their society. The critical essay tracks how Bishop’s personifications, as she grows as a poet and as her narrator’s “drive into the interior” of nature, become harder to define and control and how this loss of control precipitates a jubilant self-awareness—an awareness of the limitations and frailty of language, of poetry, and of human understanding to fully comprehend and capture the vastness of the natural world. Ultimately, this essay points toward and helps articulate my own questions (and struggles) as a poet: How much do I conceal? How much do I confess?

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Elizabeth Bishop (1911-1979) was a Pulitzer-prize winning American poet who did not produce much published work in her career. This was partly due to her low confidence, depression, alcoholism, and difficult personal life, but it was also due to her meticulousness as a poet. Colleagues and critics praised her strong description and mastery of technique, but criticized her early work as lacking depth. While appearing simple, her early works present complex themes of dualism and isolation. Using characteristics of the carnivalesque and the grotesque, her poetry explores these concepts and the need to cover them. This study's close analysis of four works ("From the Country to the City, " "Cirque d'Hiver, " "Pink Dog, " and "The Man-Moth") reveals characteristics of the carnivalesque and the grotesque, adding a previously unnoticed depth to her early work.

Poets and critics have long agreed that any perceived differences between poetry and prose are not essential to those modes: both are comprised of words, both may be arranged typographically in various ways—in lines, in paragraphs of sentences, or otherwise—and both draw freely from the complete range of literary styles and tools, like rhythm, sound patterning, focalization, figures, imagery, narration, or address. Yet still, in modern American literature, poetry and prose remain entrenched as a binary, one just as likely to be invoked as fact by writers and scholars as by casual readers. I argue that this binary is not only prevalent but also productive for modern notions of poetry, the root of many formal innovations of the past two centuries, like the prose poem and free verse. Further, for the poets considered in this study, the poetry/prose binary is generative precisely because it is flawed, offering an opportunity for an aesthetic critique. “Antagonistic Cooperation: Prose in American Poetry” uncovers a history of innovative writing that traverses the divide between poetry and prose, writing that critiques the poetry/prose binary by combining conventions of each. These texts reveal how poetry and prose are similar, but they also explore why they seem different and even have different effects. When these writers’ texts examine this binary, they do so not only for aesthetic reasons but also to question the social and political binaries of modern American life—like rich/poor, white/black, male/female, gay/straight, natural/artificial, even living/dead—and these convergences of prose and poetry are a textual “space” each writer creates for representing those explorations. Ultimately, these texts neither choose between poetry and prose nor do they homogenize the two, affirming instead the complex effects that even faulty distinctions may have had historically, and still have, on literature—as on life. By confronting differences without reducing or erasing them, these texts imagine ways to negotiate and overcome modes of ignorance, invisibility, and oppression that may result from these flawed yet powerful dichotomies.

Submitted by Cynthia Nascimento (cyngabe@ufba.br) on 2013-02-14T16:03:13Z No. of bitstreams: 1 Nirânia Silva Araújo Depeyster.pdf: 3718093 bytes, checksum: 11b0a763f7c5473dc8b54b2f0dc703d2 (MD5) / Approved for entry into archive by Valdinéia Ferreira(neiabf@ufba.br) on 2013-02-14T16:17:50Z (GMT) No. of bitstreams: 1 Nirânia Silva Araújo Depeyster.pdf: 3718093 bytes, checksum: 11b0a763f7c5473dc8b54b2f0dc703d2 (MD5) / Made available in DSpace on 2013-02-14T16:17:50Z (GMT). No. of bitstreams: 1 Nirânia Silva Araújo Depeyster.pdf: 3718093 bytes, checksum: 11b0a763f7c5473dc8b54b2f0dc703d2 (MD5) / Estudo genético dos manuscritos do livro Brazil, encomendado pela editora norte-americana Time-Life a Elizabeth Bishop, poetisa norte-americana que viveu no Brasil durante as décadas de 1950 e 1960. A primeira edição do livro Brazil foi lançada em 1962 nos Estados Unidos e no Canadá; seguia o estilo jornalístico da Revista Life, que privilegiava a linguagem fotográfica como instrumento informativo, ficando o conteúdo textual em segundo plano. Brazil também incorporou alguns dos valores ideológicos defendidos pela editora, que privilegiava a legitimação das políticas interna e externa do estado norte-americano junto à sociedade estadunidense, especialmente durante o período histórico da Guerra Fria. Essas circunstâncias históricas em que Brazil foi publicado tiveram influência significativa no processo de revisão ao qual o livro foi submetido pelos editores da Time-Life. Nesse processo de edição, tantas foram as alterações e os cortes introduzidos no texto de Elizabeth Bishop, que a autora não mais o reconhecia e o renegou publicamente. Assim, a presente pesquisa objetivou, mediante o instrumental metodológico da Crítica Genética, o estudo comparativo entre os manuscritos de Bishop e a primeira edição do livro Brazil publicada em 1962, a fim de identificar aspectos da ideologia autoral de Elizabeth Bishop, que foram contrários aos parâmetros ditados por aquela instituição editorial, tanto em termos de estilo narrativo, como de conteúdo ideológico. Nesse sentido, a contextualização histórica da obra também foi contemplada no presente trabalho, que busca compreender tal processo edição; no processo de criação do livro Brazil haveria de se refletir circunstâncias da vida pessoal da autora, bem como aos acontecimentos históricos dos anos 60, no Brasil e no mundo. Também foi abordada a problemática da autoria colaborativa do livro Brazil sob a perspectiva teórica da Crítica Genética e dos estudos da Atribuição Autoral. Ademais, a pesquisa buscou fazer uma amostragem da visão de Elizabeth Bishop sobre o Brasil e os brasileiros, através de seus manuscritos, em contraste com as imagens divulgadas pelo texto publicado. / Universidade Federal da Bahia. Instituto de Letras. Salvador-Ba, 2011.

This dissertation argues that the midcentury period from 1945-1967 offers a distinct historical framework in American poetry that bears further study. This position counters most other literary history of this period wherein midcentury poets are divided into schools or coteries based on literary friendships and movements: the San Francisco Beats, the New York School, the Black Mountain poets, the Confessionals, the Black Arts poets, the Deep Image poets, and the New Critics, to invoke only the most prominent designations. Critics also typically share a reluctance to cross gender or racial lines in their conceptualizations of the period. Of the few books that survey this period as a whole, most propose the defining features of midcentury poetry as formal innovation (or lack thereof) and a renunciation of the past. By contrast, I argue that such divisions and limiting categories do not attend to some of the most important features of midcentury poetry. I suggest that midcentury poetry most often demonstrates a renewed interest in locating a particular identity in a specific place. To illustrate this point, I explore depictions of identity and place in the works of three poets who are rarely studied together, Gwendolyn Brooks, Theodore Roethke, and Elizabeth Bishop. Each chapter examines the changes in poets' careers by focusing on how the relationship between place and identity differs in their early and late work. I contend that the few generalizations we have about the trajectory of this period (that poets moved from using more traditional forms to more open forms, for example) are not entirely accurate and, even more, that the accounts that we have of the poets' individual careers could be enhanced by a comparison between their early and late depictions of identity and place. I argue that the concerted exploration of the intersection of place and identity calls for a reconsideration of midcentury poetry: not just the categories we have but the poets and poems we read.

Submitted by Roberth Novaes (roberth.novaes@live.com) on 2018-08-21T12:52:14Z No. of bitstreams: 4 TESE-DEFINITIIVA-1-103.pdf: 1141191 bytes, checksum: 25a93423ab0c537502fa965871044dca (MD5) TESE-DEFINITIIVA-129-176.pdf: 1002835 bytes, checksum: 185aaeaf933b54a57b1eaddda7f83b56 (MD5) TESE-DEFINITIIVA-214-270.pdf: 2343194 bytes, checksum: 12948b8c7cfb1120139bd536a677e310 (MD5) CAPA.pdf: 240143 bytes, checksum: 998ddac41cbab0e80859b513adc49fed (MD5) / Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-08-21T17:15:18Z (GMT) No. of bitstreams: 4 TESE-DEFINITIIVA-1-103.pdf: 1141191 bytes, checksum: 25a93423ab0c537502fa965871044dca (MD5) TESE-DEFINITIIVA-129-176.pdf: 1002835 bytes, checksum: 185aaeaf933b54a57b1eaddda7f83b56 (MD5) TESE-DEFINITIIVA-214-270.pdf: 2343194 bytes, checksum: 12948b8c7cfb1120139bd536a677e310 (MD5) CAPA.pdf: 240143 bytes, checksum: 998ddac41cbab0e80859b513adc49fed (MD5) / Made available in DSpace on 2018-08-21T17:15:18Z (GMT). No. of bitstreams: 4 TESE-DEFINITIIVA-1-103.pdf: 1141191 bytes, checksum: 25a93423ab0c537502fa965871044dca (MD5) TESE-DEFINITIIVA-129-176.pdf: 1002835 bytes, checksum: 185aaeaf933b54a57b1eaddda7f83b56 (MD5) TESE-DEFINITIIVA-214-270.pdf: 2343194 bytes, checksum: 12948b8c7cfb1120139bd536a677e310 (MD5) CAPA.pdf: 240143 bytes, checksum: 998ddac41cbab0e80859b513adc49fed (MD5) / Esta tese teve como objetivo o estudo e a organização dos manuscritos de trabalho da escritora norte-americana Elizabeth Bishop (1911-1979) relativos aos poemas North Haven e The Armadillo, resultando em uma edição genética. Ao voltar-se para documentos pertencentes à memória cultural, discute a condição do manuscrito moderno nos dias atuais, entendendo que a edição genética se torna uma atividade que tanto atua para a preservação desses documentos frágeis como para a sua circulação, já que busca métodos de apresentação dos manuscritos através de formas variadas de representação textual, quais sejam, o fac-símile, a transcrição, a descrição e o estudo crítico. Além disso, apresenta os contextos relacionados aos poemas editados, como a amizade de Bishop com o poeta Robert Lowell (1917-1977) que lhe garante a sua presença nos círculos literários norte-americanos, ou contratos feitos com a The New Yorker, revista responsável pela veiculação de tais poemas pela primeira vez. A construção teórica da tese associa a crítica genética a conceitos da geografia capazes de iluminar aspectos da criação textual da autora, já que partimos do pressuposto de que há uma tendência em seus escritos de espacializar o real para, assim, traduzi-lo em texto poético. / The objective of this thesis is to study and organize manuscripts of the poems North Haven and The Armadillo, written by the North-American author Elizabeth Bishop (1911-1979) in order to construct a genetic edition. Having the aim to study documents that help maintain cultural memory, the thesis proposes to discuss the condition of the modern manuscript nowadays. The genetic edition is an activity that also helps to preserve those fragile documents and their circulation since it pursues methods of presenting variable forms of textual representation, such as their facsimile, transcription, description, and critical study. Moreover, it presents the specific contexts related to the edited poems; among those are Bishop’s friendship with the poet Robert Lowell (1917-1977) who guarantees her presence in the North-American literary circles, or even her contracts with The New Yorker, the magazine responsible for the circulation of The Armadillo and North Haven for the first time. The theoretical construction of this thesis associates genetic criticism with geographical concepts such as space and multiterritoriality, which are capable to illuminate some aspects of Bishop’s textual creation. We have the assumption that there is a tendency, in her writings, to focus on space around her to translate it into poetry.