Thesis (Ph. D.)--University of Pennsylvania. / Title-page in Japanese at end. Bibliography: p. [106]-108.

Thesis (Ph. D.)--University of Pennsylvania. / Title-page in Japanese at end. Bibliography: p. [106]-108.

A few things that influenced this collection of poems: shifting memory, mirroring, opposites, river rapids, patterns that repeat and spread both in the natural world and in writing... rhizomatic root systems, veins, an aerial view of rivers...

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Deepwater Vee began as a meditation on the rivers I have worked on as a wilderness guide—the Nahanni, the Thelon, the Burnside, the Tatshenshini / Alsek, and others. The lyric poems take wobbly bearings and try to track the phenomenal world. This collection of nature poetry also considers two of Canada’s most threatened waterways—the Athabasca, which runs through the heart of the Alberta tar sands, and the North Saskatchewan, the river that ran by my home but which I had never paddled until recently, a river stressed by dams and upgraders, sewage and pesticides. These rivers push the poems into a contemplation of loss and into the terrain of Alexander MacKenzie’s dreams, a busker’s street riffs and the imagined wanderings of a grandmother who returns to inhabit the earth. / Graduate / 10000-01-01

Made available in DSpace on 2014-12-17T14:36:29Z (GMT). No. of bitstreams: 1 GilmarLF_TESE.pdf: 2549226 bytes, checksum: b70177f7d8b3807bc5dc40194f8c6109 (MD5) Previous issue date: 2013-02-04 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / Para la construcci?n de la tesis, reflexionamos sobre el sert?o como un lugar que educa. Basado en la filosof?a de la naturaleza, Merleau-Ponty, en alguna literatura del pa?s, libros sobre la obra del poeta de la canci?n (Jo?o Batista de Siqueira), en las directrices, en conversaciones con los bosquimanos do Cariri paraibano y Paje? Pernambuco, es posible pensar y entender la educaci?n por la relaci?n humana del interior con la naturaleza y la poes?a. En el campo de la reflexi?n epistemol?gica, entendemos que la educaci?n para la vida puede ser una ruta para entender el hombre de aprendizaje por medio de las relaciones y la construcci?n de un conocimiento compartido y experimentado a diario al nuevo aprendizaje. Involucrados con el fen?meno de Bush, la actitud fenomenol?gica era de fundamental importancia para poder caminar en los caminos de la investigaci?n, siempre teniendo cuidado para no ser un alojamiento antes de que el fen?meno investigado, pero s?, un punto de partida para la construcci?n de horizontes de sentido, dando otros significados para una mejor aproximaci?n. Es posible entender que la educaci?n es la experiencia vivida de los sertanejos con la naturaleza y la poes?a. Esta perspectiva fenomenol?gica revela que la educaci?n de Bush emerge del mundo vivi? de la monta?a, a trav?s del contacto sensible con otros animales, las plantas y la poes?a. Es una educaci?n corporal, como sucede en el universo de sensibilidad y abre el campo de la existencia humana, interconectado con los seres animados e inanimados do sert?o / Para constru??o desta tese, refletimos a respeito do sert?o como um lugar que educa. Fundamentados na filosofia da Natureza de Merleau-Ponty, em alguns livros da literatura sertaneja, na obra do poeta Canc?o (Jo?o Batista de Siqueira), nas orienta??es, nas conversas com os sertanejos do Cariri paraibano e do Paje? pernambucano, foi poss?vel pensar e compreender a educa??o emergida pela rela??o do homem do sert?o com a natureza, e a poesia. No campo da reflex?o epistemol?gica, compreendemos que a educa??o da vida pode ser um caminho para a compreens?o do homem, aprendendo por meio das rela??es e, com isso, construindo um conhecimento compartilhado e experimentado no dia a dia para novas aprendizagens. Envolvido com o fen?meno sert?o, a atitude fenomenol?gica foi de fundamental import?ncia para podermos trilhar nas veredas da pesquisa, tomando cuidado para n?o haver uma acomoda??o diante do fen?meno investigado, mas sim, um afastamento para cria??o de horizontes de sentidos, dando outras significa??es para uma melhor aproxima??o. Foi poss?vel compreender que a educa??o se faz da experi?ncia vivida dos sertanejos com a natureza e a poesia. Essa perspectiva fenomenol?gica revela que a educa??o do sert?o emerge do mundo vivido do sertanejo, por meio do contato sens?vel com outros animais, plantas e poesia. ? uma educa??o corp?rea, porque acontece no universo da sensibilidade e abre o campo da exist?ncia humana, interligada com os seres animados e inanimados do sert?o

The poems in this collection are elegiac; celebrations of losses and failures, tributes to the daily doldrums that are at the center of human experience. They threaten to expose the uncertainty that exists and refuses to exist in our everyday lives. They explore the otherness associated with the individual and often turn to the universal formulas of music and physics to make order of the world around them. Often times the Speaker finds that the seeming chaos manifests within her already orderly life, the daily routines of work and family. Poetic magic, so to speak, weds this ordered chaos to the laws of nature and its routines, especially birds, which makes a recurrent appearance throughout the manuscript.

The idea of “wilderness,” of nature itself, is being interrogated in history, philosophy, and English departments throughout the academy; books on our place in the natural world have prominent spaces on shelves in bookstores; newspapers feature editorials on climate change and nature preservation. More attention than ever is being paid to environmental philosophers and nature writers as the ongoing climate crisis slowly but steadily worsens. All the while, however, some important thinkers on these subjects of nature and wilderness are utterly forgotten. My thesis focuses on the work of one of these neglected thinkers, the poet and essayist John Haines (1924-2011). Haines’s name is not mentioned often, if ever, in discussions of prominent American nature writers, and I aim to demonstrate why that is an unfortunate exclusion. Guided by his decades as a subsistence hunter and fur-trapper in the Alaskan bush, John Haines offers a perspective on the world outside of us that deserves consideration. I compare and contrast his ideas with those of other nature writers and poets, as well as environmental philosophers and theorists, and argue that he offers a unique and transformative vision of our relationship to the natural world and the non-human animals that live all around us.<br>

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This thesis reads John Ashbery as a major poetic thinker about nature whose work convenes a multitude of nature writing traditions, from classical pastoral to the 21st-century eco-sublime. Challenging a critical consensus that would cast Ashbery as either a belated romantic in search of lost nature or an arch-postmodernist who dissolves "nature" into text, this study reveals his deep historical awareness of the transmission and collision of literary ecologies. The poet who emerges delights in putting different poetic natures into contact with each other—and in humorously making nature unnatural. Surveying Ashbery’s long historical moment, the thesis uses four terms of critique—transparency, vagrancy, flow, and badness—to map his "invisible terrain." Chapter one historicizes Ashbery’s turn to a poetics of contradictory "transparencies" during his sojourns in France from 1956-1965 and his concurrent dream of writing poems that would be like "natural landscapes" in a world of "painted ones." Chapter two considers the pastoral and anti-pastoral topoi of Ashbery’s Vietnam-era poetry and his tendency to "wander away" from political commitment. Chapter three examines Ashbery’s recurrent tropes of "flow" and his tendency to literalize the stream-of-consciousness metaphor and "dissolve" his own style at decisive moments of his career. Chapter four reads the "bad" nature poetry of Ashbery’s late period (1987 to the present) as the culmination of a career-long investment in camp irony’s "good taste of bad taste" and as a response to ecological crisis. The coda, a survey of Ashbery’s critical prose, examines his penchant for “a completely new kind of realism."