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by Isabel Landreth Perkins / Typescript / M.A. Florida State College for Women 1935 / Includes bibliographical references (leaves 135-138)

In this study, I have analyzed the poems from the Corpus Sulpicianum (3.8–3.18) as the creation of a single author, Sulpicia. My argument in favour of the uniformity of the cycle is based on the consistency of the authorial persona, poetic concerns, and author-specific blending of some elegiac tropes. Through a metaliterary analysis of the poems, an authorial identity emerges based on the trope of the docta puella. Unlike the doctae puellae of other Roman elegists who are constructed predominantly as recipients of male-authored poetry, Sulpicia through her doctrina enhances her persona as a creatrix of poetry. In the opening poems 3.8 and 3.13, for example, Sulpicia constructs her body as part of her literary program, while also developing her persona of elegiac lover. I also show how Sulpicia’s literary concerns arise in her preoccupation with literary fama, for which Sulpicia introduces an image that reflects a creative and maternal dimension, and which diverges from the predominant elegiac tradition. In most of the poems of the remaining cycle (3.9, 3.10, 3.11, and 3.12), not only does Sulpicia represent her persona consistently as a docta poeta, but she also includes amor mutuus and servitium aequum as part of her other poetic materia. From this perspective, I argue, Sulpicia again differs drastically from the rest of elegiac tradition, by considering the reciprocity of feelings to be the base of her valuable poetic discourse. The absence of mutuality, in fact, is also reflected in the exhaustion of both her body and her literary corpus in 3.16 and 3.17. / Graduate / 2023-01-12

ABSTRACT In this book-length poem, The Orchard Green And Every Color, the material eye becomes lingual, forging Vision from the consequential glintings of solid light through the many-colored world. Following a notational mode that foregrounds clarity which splits apart at its limits, its language attempts to be astonished before the intelligence of images and the capacity of the mind to move in step with them, even as saying and seeing run in counterpoint to one another at varying speeds in its early sections, concluding in a series of prose poems that move on the thin ice of repeated syntax. This thesis seeks to prove that poems provide more than an example of a world-weary or language-damaged individual consciousness but function as a type of sensory organ for echolocating one’s way through the world.

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The focus of this study is to compare works by the Canadian poet Dorothy Livesay (1909-1996) and by the Iranian poet Forugh Farrokhzad (1935-1967). Although Farrokhzad and Livesay were from different generations, their love poems emerged around the same time. Farrokhzad published her poems between 1955 and 1965, and Livesay's collection of love poemsThe Unquiet Bed was published in 1967. There are interesting similarities between the use of voice and theme in their love poems.The speakers in the poems try to keep their individuality and are looking for freedom in love, but often see love as disappointing. My discussion highlights Livesay's"The Touching,"The Taming," and"Consideration" as well as Farrokhzad's"The Sin,"Love Song," and"My Beloved." I also refer to many of their other love poems, discuss their biographies and map out their respective cultural contexts, all of which reflect different worlds. A comparison of Farrokhzad's and Livesay's personal lives shows that Livesay's father and her mother, who were both journalists, helped her to improve and publish her writings while Farrokhzad's parents discouraged their daughter from composing and publishing poems. Livesay was a highly educated woman who lived and studied in different countries, but Farrokhzad did not have access to advanced academic studies. Neither had happy marriages and both left their marriages in search of more freedom. Through their love poems, Farrokhzad and Livesay questioned the patriarchal conventions of their respective societies and tried to express their need for freedom and individuality as women. One of the most important differences between Iranian and Canadian societies was that Iranian society was deeply affected by conventional Islamic ideologies. Farrokhzad's love poems resisted these Islamic ideologies and, as a result, her works were ignored for years. Again, at the time Livesay publishedThe Unquiet Bed (1967), there were some similarities between gender constructions in Iran and Canada, for example, the importance of marriage and the confinement of women to the private sphere, but to a very different degree. Since Livesay lived in a society that was being greatly affected by the feminist revolution in the 1960's, the feminism in her love poems was better received. As this research is done in English, translated versions of Farrokhzad's poems are used. A translated poem never conveys the exact meaning of the original poem.The translator of a poem should be a poet herself or himself. What he or she should do is to read and understand the original poem and reproduce a new poem in the target language. This research discusses some interesting images in Farrokhzad's love poems. As a native speaker of Farsi, I explain the real intention of these images to see if translated versions could convey a similar meaning. I also consider the challenges when translating poetry from Farsi to English and the effects of reading Iranian poetry that has been mediated by translation. An important approach to Farrokhzad's and Livesay's works is to analyze their poems in terms of feminist ideologies. There is a great difference between Iranian and Canadian feminist ideologies. Feminist thought in Iran is based on Islamic ideologies.The question is if Islamic feminism can defend women's rights against men or not. Farrokhzad was one of the anti-Islamic feminists who opposed Islamic rule in her poems. Canadian feminist ideologies, however, are divided into liberal, Marxist, radical, and French schools, and are most often based on secular ideologies. This thesis examines the critical reception of poetry by both poets in the context of different schools of feminist thought in Canada and Iran. Livesay traveled to Zambia later in life and one of the love poems she wrote after that called"The Taming" comments ironically on women's submission to a dominant male lover.The comparison of poems by two authors from different worlds shows how their love poems, their feminist voice, and their themes of freedom, independence, and disappointment in love are rooted in the cultural context of their lives.

published_or_final_version / Chinese / Master / Master of Philosophy

The modern Arabic term for national homeland, waṭan, derives its sense from the related yet semantically different usage of this term in classical Arabic, particularly in classical Arabic poetry. In modern usage, waṭan refers to a politically defined, visually memorialized territory whose expanse is cognized abstractly rather than through personal experience. The modern waṭan is the geopolitical locus of national identity. The classical notion of waṭan, however, is rarely given much geographical content, although it usually designates a relatively localized area on the scale of a neighborhood, town, or village. More important than geographical content is the subjective meaning of the waṭan, in the sense of its essential place in the psyche of an individual. The waṭan (also mawṭin, awṭān), both in poetry and other types of classical writing, is strongly associated with the childhood/youth and primary love attachments of the speaker. This sense of waṭan is thus temporally defined as much as spatially, and as such can be seen as an archetypal instance of the Bakhtinian chronotope, one intrinsically associated with nostalgia and estrangement. The waṭan, as the site of the classical self’s former plenitude, is by definition lost or transfigured and unrecoverable, becoming an attachment that must be relinquished for the sake of virtue and glory. This paper argues that the bivalency of the classical waṭan chronotope, recoverable through analysis of poetic and literary texts, allows us to understand the space and time of the self in classical Arabic literature and how this self differs from that presupposed by modern ideals of patriotism.

A música percorre a obra de Mário de Andrade como matriz de seu fazer poético. Harmonizando as diferentes faces do poeta arlequinal, sua face musical aparece em Paulicéia desvairada (1922) e em Losango cáqui (1926), assim como nos versos de Clã do jabuti (1927), permanecendo, ainda, em Remate de males (1930) e nos volumes de poesia posteriores. O estudo detido de três grupos de poemas do livro de 1930 Tempo da Maria (1926), Poemas da negra (1929) e Poemas da amiga (1920-1930), realizado nesta tese, permite perceber em que medida a música e a retomada de formas populares, como a estrutura das Danças Dramáticas, moldam os poemas de Mário de Andrade, em que dilemas amorosos do eu lírico são encenados. / The music is the matrix of the poetic work of Mário de Andrade. Harmonizing the different faces of the multiple poet, his musical face can be seen in the books Paulicéia desvairada (1922), Losango cáqui (1926) and Clã do jabuti (1927), as well as in the verses of Remate de males (1930), and in the posterior works of the author. A detailed study of poems that are organized in tree groups of Remate de males Tempo da Maria (1926), Poemas da negra (1929) e Poemas da amiga (1920-1930) , accomplished by this thesis, allows us to notice how the music and the popular forms, as the structure of the Danças Dramáticas, mould the poems of Mário de Andrade, in which appears amorous dilemmas.