Thesis (Ph. D.)--University of Wisconsin, 1965. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thèse--Lettres--Grenoble III, 1981.

No description available.

Thesis (Ph.D.)--Boston University / The purpose of the dissertation is to appraise the qualities of Louis MacNeice's poetry, to discover its relationship to his critical theories, and to determine its development since his first important work in the nineteen-thirties. That there has been a development has not always been recognized; there have been no full length studies of MacNeice's work, and the short discussions of his poetry have been primarily concerned with his place in the Auden Group. Poetry, MacNeice came to believe, is essentially a communication of some truth, rising out of the poet's own experience but bearing an essential relationship to more universal truths, grounded in a belief held by the poet but shared by other men, and striving through the ritual of its expression to extend its grasp of truth beyond the limits of empirical reality to the Unknown. The poet's duty is to find an organic relationship with the life of the community that he may speak to the common man. The changing themes in MacNeice's poetry are the result of his attempt to apply these theories [TRUNCATED]

No description available.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1964. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Bibliography: leaves 350-364.

This research aims to illuminate how and why war challenges the limits of poetic representation, through an analysis of non-combatant poetry of the Second World War. It is motivated by the question: how can one portray, represent, or talk about war? Literature on war poetry tends to concentrate on the combatant poets of the First World War, or their influence, while literature on the Second World War tends to focus on prose as the only expression of literary war experience. With a historicist approach, this thesis advances our understanding of both the Second World War, and our inherited notions of 'war poetry,' by parsing its historiography, and investigating the role critical appraisals have played in marginalising this area of poetic response. This thesis examines four poets as case studies in this field of research-W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith-and evaluates them on both their individual explorations of poetic tone, faith systems, linguistic innovations, subversive performativity, and their collective trajectory towards a commitment to represent the war in their poetry. The findings from this research illustrate how too many critical appraisals have minimised or misrepresented Second World War poetry, and how the poets responded with a self-reflexivity that bespoke a deeper concern with how war is remembered and represented. The significance of these findings is breaking down the notion of objective fact in poetic representations of war, which are ineluctably subjective texts. These findings also offer insight into the 'failure' of poetry to represent war as a necessary part of war representation and prompt a rethinking of who has the 'right' experience-or simply the right-to talk about war.