Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 83-87).

Thesis (Ph. D.)--Oregon State University, 2008. / Printout. Includes bibliographical references (leaves 140-145). Also available on the World Wide Web.

published_or_final_version / English Studies and Comparative Literature / Master / Master of Philosophy

The thesis argues that a certain 'locus' of poetry is perceptible diachronically in the French literary field of the 20^th Century and that this locus (elusive, fragmented, multilayered) may be meaningfully focused upon via the interaction of the questionings centered around the terms 'speech' and 'utopia'. In the introduction an argument is made for the conceptual validity of the term 'utopia' in relation to the diverse literary practices accruing around the pole of the 'poetic', which results in the derivation of the idea of a Utopian dynamic - a vectoral addition to the conventionally static, figure-bound 'utopia'. Concentrating on three poets (Victor Segalen, René Daumal and Yves Bonnefoy) from three distinct generations and periods (pre-WWI, inter-War and post-WWII) which are standardly represented as discontinuous, the thesis proposes an analysis, ordered along three canonical sub-divisions of the Utopian preoccupation (which are three distinct modalities of Utopian space), of the Utopian dynamic argued to be characteristic of the work of poetic writing. The three parts of the thesis thus examine the 'poetic' as occurring within social space (lieu commun), physical space (haut lieu) and textual space (non lieu) over the combined duration of the corpus. Arguing for an intelligible continuity of preoccupation among the three poetic oeuvres discussed, the thesis concludes that that continuity enables, in return, a modification of our understanding of the Utopian, of which a lucid practice of poetic writing can thus become the embodiment. Utopia, from being a synonym for illusionment in a century at all times supremely alive to the need for irony, becomes a creative embrace of disenchantment. The point of resolution (poetic foundation) at each stage in the individual oeuvres analysed being the ongoing representation of the 'human' as inner and outer limit to the poetic subject's practice and to the aspiration from which it moves.

Thesis (M. Phil.)--University of Hong Kong, 1985.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references (leaves 186-198). Available also in a digital version from Dissertation Abstracts.

This thesis explores Pindar's relationship to his audiences. Part One demonstrates how his victory odes take into account an audience present at their premiere performance and also secondary audiences throughout space and time. It argues that getting the most out of the epinicians involves simultaneously assuming the perspectives of both their initial and subsequent audiences. Part Two describes how Pindar uses his audiences' knowledge of other lyric to situate his work both within an immanent poetic history and within a contemporary poetic culture. It sets out Pindar's vision of the literary world past and present and suggests how this framework shapes an audience's experience of his work. Part Three explains how Pindar's victory odes made lucid sense as linear unities to fifth-century Greeks imbued in the traditions of choral lyric. An annotated text shows how each sentence in the epinician corpus forms part of a coherent chain of rational discourse.

No description available.

The main purpose of this study is to present the origin and the development of the art of oral interpretation of verse in the United States. During the part 150 years there have been changes taking place in the philosophy behind the art of oral interpretation of verse; during that 150 years the type of poetry presented for oral interpretation has changed; the aims of oral interpretation has changed and the rules for oral interpretation have changed and the rules for oral reading of verse have been modified, altered, and changed. This study presents these changes and their development, so as to give a history of the art of oral interpretation of verse in the United States. In presenting such a historical analysis of the development of the art of oral interpretation of verse, three principle factors regarding oral interpretation will be the basic consideration of this study: (1) The subject matter and type of verse presented for oral interpretation.; (2) The rules for the oral interpretation of verse.; (3) The philosophy and aims of the art of oral interpretation of verse.