Thesis--Instituto de Educação do Estado da Guanabara. / Includes bibliographical references (p. 77-80).

Inaug.-diss.--Greifswald. / Lebenslauf.

"Thèse pour le Doctorat ès Lettres, présentée à la Faculté des lettres de Bordeaux." / Includes bibliographical references.

Thése--Bordeaux. / Added t.p. reads: L'art poetique françois, de Pierre Delaudun Daigaliers. Paris, A. du Brueil, 1597. Bibliographical footnotes.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1966. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 181-187).

This creative thesis collects five fictional stories, as well as a critical preface entitled “Fractals and the Gestalt: the Hybridization of Genre.” The critical preface discusses genre as a literary element and explores techniques for effective genre hybridization. The stories range from psychological fiction to science fiction and fantasy fiction. Each story also employs elements from other genres as well. These stories collectively explore the concept of the other and themes of connection and ostracization.

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This dissertation examines the surge of long form and citational poetry in the first decades of the twenty-first century and the revival of the term “documentary” to describe these projects, a configuration that I refer to as “late documentary poetics.” Documentary poetry emerged as a distinct genre in and around the time of the Great Depression, as writers and artists on the political left developed new aesthetic forms to respond to economic, social, and environmental crises. In the same period, documentary cultural production was integrated into state-sponsored programs, like those established under the New Deal, and played an important role in consolidating the liberal nation-building project in both the United States and Canada. My account of documentary poetry’s development in the early twentieth century follows and extends existing studies of documentary film and literature that emphasize how documentary’s early association with left radicalism was intentionally incorporated into the project of liberal governmentality in North America in order to develop a form of state-sanctioned opposition that was primarily cultural rather than political, reform-based rather than revolutionary. Throughout this dissertation, I argue that late documentary poetics not only addresses the colonial and state archive thematically through the citation of institutional, legal, and corporate documents, but also engages with documentary’s own history as both a tradition of anti-capitalist writing and an infrastructure of governance rooted in the instrumentalization of cultural policy. By analyzing the social and political conditions of documentary poetry’s emergence, I expand formal accounts of documentary poetics by connecting aesthetic structures associated with documentary composition like citation, visuality, and generic mobility to related structures of liberal governmentality like territoriality, carcerality, and individual agency. I use the term “infrastructure” to refer to the co-construction of these aesthetic and social forms because it emphasizes how documentary poetics materializes the assumptions of liberal modernity not by reflecting or reproducing social conditions in literary form but as an active participant in a dynamic system that includes literary forms but also institutions, communities, media, geographies, and histories. My chapters put several recent documentary poetry projects by Mark Nowak, Juliana Spahr, Cecily Nicholson, and Mercedes Eng in dialogue with related modernist documentary poems by Tillie Olsen, Muriel Rukeyser, and Dorothy Livesay to argue that late documentary poetics is what Raymond Williams calls a “residual cultural practice” because it makes meaning by negotiating documentary’s infrastructure without taking it to be permanent or unopposed.

Plato criticizes poetry in several of his dialogues, beginning with Apology, his first work, and ending with Laws, his last. In these dialogues, his criticism of poetry can be divided into two streams: poetry is criticized for either being divinely inspired, or because it is mimetic or imitative of reality. However, of the dialogues which criticize poetry in these ways, it is not until Laws that Plato mentions both inspiration and mimesis together, and then it is only in a few sentences. Furthermore, nowhere in the dialogues does Plato discuss their relationship. This situation has a parallel in the secondary literature. While much work has been done on inspiration or mimesis in Plato’s criticism of poetry, very little work exists which discusses the connection between them. This study examines Plato’s treatment - in the six relevant dialogues - of these two poetic elements, inspiration and mimesis, and shows that a relationship exists between them. Both can be seen to relate to two important Socratic-Platonic concerns: the care of the soul and the welfare of the state. These concerns represent a synthesis of Socratic moral philosophy with Platonic political beliefs. In the ‘inspiration’ dialogues, Ion, Apology, Meno, Phaedrus and Laws, poetic inspiration can affect the Socratic exhortation which considers the care of the individual soul. Further, as we are told in Apology, Crito and Gorgias, it is the good man, the virtuous man - the one who cares for his soul - who also cares for the welfare of the state. Therefore, in its effect on the individual soul, poetic inspiration can also indirectly affect the state. In the ‘mimesis’ dialogues, Republic and Laws, this same exhortation, on the care of the soul, is posed, but it is has now been rendered into a more Platonic form - as either the principle of specialization - the ‘one man, one job’ creed of Republic, which advances the harmony between the three elements of the soul, or as the concord between reason and emotion in Laws. While in Republic, mimesis can damage the tripartite soul's delicate balance, in Laws, mimesis in poetry is used to promote the concord. Further, in both these dialogues, poetic mimesis can affect the welfare of the state. In Republic, Socrates notes that states arc but a product of the individuals of which they are composed Therefore, by affecting the harmony of the individual soul, mimesis can then undermine the harmony of the state, and an imperfect political system, such as a timarchy, an oligarchy, a democracy, or a tyranny, can result. However, in Laws, when it is harnessed by the philosophical lawgivers, mimesis can assist in the concord between the rulers and the ruled, thus serving the welfare of the state. Inspiration and mimesis can thus be seen to be related in their effect on the education of both the individual, in the care of the soul, and the state, in its welfare. Plato's criticism of poetry, therefore, which is centred on these two features, addresses common Platonic concerns: in education, politics, ethics, epistemology and psychology.