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

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.

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.

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Contemporary performance poetry is a democratic art form that elicits dialogue and is a catalyst for social change. Yet it is an art form that is still not well understood: it is accused of unconsciously mimicking hip-hop and being a watered-down, lesser version of "real" poetry. However once its power is harnessed it may be a powerful art form that can be used to address social ills and act as a medium for memory work. The themes that are prevalent in contemporary performance poetry illustrate society‘s preoccupations. Different South African and American poets from a wide range of socio-economic, national, generational and racial backgrounds are examined to explore the collective preoccupations that keep emerging in the poetry, issues pertaining to race and class, gender, and to the politics of the past and its effect on the present. There is a long debate around the influences of contemporary performance poetry, which is negotiated in Chapter One. Though Gil Scott-Heron‘s "The Revolution will not be Televised" is identified as being a major influence, Saul Williams‘s "Black Stacey" challenges some of the arguments made by Scott-Heron. Lesego Rampolokeng lays the foundation for South African performance poetry by criticising the new black elite in the country in "Riding the Victim Train". Chapter Two examines how the poets challenge the status quo in their work. Sarah Jones‘s "Blood" illustrates how the new black middle class in America is complicit in keeping poor people on the margins, while Kgafela oa Magogodi levels his criticism against state sanctioned poets in South Africa. Mxolisi Nyezwa‘s "The Man is Gone" illustrates that the new class based hierarchal system in South Africa is potentially harsher than the apartheid one that was based on race. Chapter Three focuses on gender issues that are prevalent in South Africa. Tumi Molekane‘s "Yvonne" illustrates the danger that is embedded in the hetero-normative narrative while oa Magogodi‘s "Samson and deli(e)lah" and Sam‘s "Eve" explore how this narrative is unjustly informed by misinterpretations of the Bible. History and the impact of the past on the present is the focus of Chapter Four. "76" by Molekane illustrates how the apartheid legacy still affects many in South Africa, while Andrea Gibson‘s "Eli" explores the devastating effects of America‘s war efforts in Iraq. Dennis Brutus highlights the cathartic attributes of poetry that is community-driven in "So Neat They Were" and "Mumia". The chapter ends with an exploration of how the form of izibongo is used by Chris Thurman in "Holy City (A Jozi Praise-Poem)". The last poem illustrates how the past informs the present and suggests that despite the bleakness of the past, there is hope for South Africa because of its rich cultural heritage.