The Second World War witnessed what was recognised at the time as a poetic revival in France. The phenomenon of Resistance poetry in particular commanded literary attention throughout the war. Immediately afterwards, however, this large corpus of poetry was widely dismissed as an unfortunate aberration. Viewed as ephemeral poetry of circumstance with only a documentary value, as tendentious poésie engagée, as propaganda or as conservative patriotic verse, it was thought unworthy of consideration as poetry. Marked by the reputation it gained just after the war, Resistance poetry has been given short shrift in critical studies, and has only rarely been the focus of academic attention. This study reexpounds in detail and with a wide range of reference the debate concerning Resistance poetry, and draws attention to a number of poets who are not widely known, or who are not known as Resistance poets. It demonstrates through a thematic and formal analysis of a selection of Resistance poetry that it is in fact no different from poetry as implicitly understood by critics who have dismissed it. A description of commitment in Resistance poetry is followed by a thematic study of its three related objects, namely France, man and language. Detailed examinations of these three major concerns in the poetry challenge the received view that Resistance poetry is conservative in its patriotism, dogmatic or essentialist in its commitment, and reactionary in its use of language. This thematic study is complemented by illustrative analyses of individual poems or parts of poems, and by a concluding commentary.

M.A. (Afrikaans) / In this study the place of the death poem as genre and particularly its incidence in Afrikaans is traced. Because the corpus of poems about death is so comprehensive, a distinction is made between two significant categories: death poetry in general and death poetry with specific regard to the death of a beloved, especially with reference to a close relative. For the purpose of this study the latter is dealt with. It is established that the death poem referring to the death of a close relative has in almost every known literature been responsible not only for some of the most touching poems, but also for some of the best. In certain Iiteratures particular conventions in connection with . the death poem have crystallized. In others the theme of death has found unrestrained expression. A comparative study and an assessment of value are the two most important methods that were used in this study to ascertain the place of the death poem in literature. The death poem can be classified under several categories, each of which has contributed to a greater or lesser degree to the genre of the death poem. The category of the beloved deceased, especially the beloved close relative is emphasized in this particular study. Most poets have contributed to the corpus of the death poem, but Totius, Elisabeth Eybers, D.J. Opperman and T.T. Cloete, each representing one of the great literary eras in Afrikaans, have contributed the best death poems. It appears from the comparative study that there has been a qualitative improvement in this genre.

Note:

This dissertation explores John Ashbery's interactions with several generations of English poets, during a period which ranges from the late 1940s to the present day. It seeks to support two principle propositions: that Ashbery's engagements with contemporaneous English poets had a decisive influence on his poetic development; and that Ashbery's own poetic and critical work can be employed to revise our understanding of mid-to-late 20th century English poetry. The dissertation demonstrates that Ashbery's relationships with four English poets - W.H. Auden, F.T. Prince, Lee Harwood and Mark Ford - occurred at significant junctures in, and altered the course of, his poetic development. Ashbery's critical and poetic engagements with these poets, when read together, are shown to constitute an idiosyncratic but coherent re-reading of the English poetry of the past and present. The dissertation addresses the ways in which each poet theorises the difficulties posed, and opportunities afforded, by perceived changes in Anglo-American poetic relations at different points during the 20th century. Chapter one re-evaluates Ashbery's relationship with Auden. It traces the legacy of Auden's coterie poetics in The Orators for Ashbery and Frank O'Hara, offers a revisionary reading of The Vermont Notebook as a strident response to Auden's late-career conservativism, and reads in depth Ashbery's unpublished, highly ambivalent elegy for him, "If I had My Way, Dear". Chapter Two attends to the extensive correspondence between Ashbery and Prince, argues that Prince's work provided a model for Ashbery's "encrypted" early lyrics addressing his homosexuality, and reads "Clepsydra" as an early elaboration of Ashbery's conception of a reciprocal influential model. Chapter Three examines Lee Harwood's "imitations" of Ashbery, and considers the latter's first critical formation of an English "other tradition" through his association of Harwood with the work of John Clare. Chapter Four portrays Ashbery's relationship with Mark Ford as a successful enactment of reciprocal influence, a form of engagement which allows Ashbery a means to "shake off his own influence" and to retain his status as a "major minor writer".

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Thesis (MA)--University of Stellenbosch, 1998. / Blog by Johann de Lange: http://johanndelange.blogspot.com/ / AFRIKAANSE OPSOMMING: Hierdie studie stel hom ten doel om die 19de-eeuse kulturele fin de siecle-intertekste in Johann de Lange se poësie, wat grotendeels postmodernisties van aard is, na te gaan ten einde die hipotese te toets dat sy werk sterk ooreenkomste met die kunsuitinge van die vorige eeuwending openbaar. Hieruit blyk duidelik 'n korrespondensie of ekwivalensie tussen die tydsgees en diskoers van die huidige fin de millennium en die van die 19de-eeuse fin de siecle. Die titel van die tesis is ontleen aan die gedig "Greenwichtyd" uit Snel grys fantoom (1986:29): Dit als terwyl ek stil slaap anderkant die horison, klein doen in 'n wêreld waar eeue wegtik met elke oogknip, 'n dag gebeur tussen een asemteug en die volgende [...] Omdat al sewe bundels van die digter ondersoek is, kon slegs drie gedigte in diepte geanaliseer word, naamlik "Correspondences" uit Wordende naak (1990:22), "Studie van 'n portret van 'n man" uit Snel grys fantoom (1986:56) en "Vlees van die berg" uit Vleiswond (1993:51-52). Die gedig "Correspondences", wat seminaal is vir die hipotese wat in hierdie studie gestel word, kom in 'n eie hoofstuk aan bod; "Studie van 'n portret van 'n man" is aanvullend tot die hipotese dat De Lange hom met die kunstenaars van die fin de siecle vereenselwig; terwyl "Vlees van die berg" op vele wyses De Lange se digterlike preokkupasies weerspieël. Enkele aspekte van die kunsstrominge van die Dekadentisme, Estetisisme en Simbolisme, wat in die eeuwending voorkom en ook in De Lange se verse neerslag vind, word in afsonderlike hoofstukke bespreek. Die digter se sosiopolitieke betrokkenheid wat deur die meeste kritici in die verlede misken is, word bevestig. As gevolg daarvan dat mistisisme en metapoësie by De Lange dikwels in 'n enkele gedig saamsmelt, word hierdie aspekte ten slotte in 'n afsonderlike hoofstuk onder die loep geneem. Daar word deurgaans gebruik gemaak van verwysings na geselekteerde gedigte uit De Lange se oeuvre, telkens gesitueer binne die konteks van die postmoderniteit. Ten einde die dinamika van intertekstuele en interdiskursiewe prosesse te demonstreer, word intertekstuele ekskursies of intertekstuele cruising dikwels onderneem. / ENGLISH ABSTRACT: This study investigates the 19th century cultural fin de siecle intertexts in Johann de Lange's predominantly postmodernistic poetry in order to test the hypothesis that his work reveals strong correspondences to art forms of the previous turn of the century. As a result a correspondence or an equivalence between the cultural climates and discourses of the relevant ages, viz. the present fin de millennium and the fin de siecle of the 19th century, is indicated. The origin of the title of the thesis is the poem "Greenwichtyd" from Snel grys fantoom (1986:29): Dit als terwyl ek stil slaap anderkant die horison, klein doen in 'n wêreld waar eeue wegtik met elke oogknip, 'n dag gebeur tussen een asemteug en die volgende [...] The volume of work involved in the examination of the poet's entire oeuvre of seven volumes precluded the exhaustive analysis of vast numbers of poems. For this reason only three poems have been analysed in any depth. These are "Correspondences" from Wordende naak (1990:22), "Studie van 'n portret van 'n man" from Snel grys fantoom (1986:56) and "Vlees van die berg" from Vleiswond (1993:51-52). The poem "Correspondences" which is seminal to the hypothesis posed in this study is discussed in a separate chapter; "Studie van 'n portret van 'n man" is supplementary to the hypothesis that De Lange identifies with the artists of the fin de siecle; while "Vlees van die berg" reflects many of De Lange's poetic preoccupations. A few aspects of decadence (in the cultural sense), aestheticism and symbolism, schools of art prevalent at the turn of the century which all find expression in De Lange's poems, are examined in separate chapters. The sosio-political commitment of the poet, unrecognised by most critics in the past, is confirmed. Because De Lange often merges mysticism and metapoetry in a single poem, these aspects are finally investigated together in one chapter. Reference is made throughout to selected poems from De Lange's oeuvre as situated within the context of postmodernity. In order to demonstrate the dynamics of intertextual and interdiscursive processes, intertextual excursions or "cruises" are often undertaken.

published_or_final_version / abstract / Education / Master / Master of Education

by Mi Jia-Yan. / Thesis (Ph.D.)--Chinese University of Hong Kong, 1996. / Includes bibliographical references (leaves 258-272). / Poems in Original Chinese. / Title Page --- p.i / Abstract --- p.ii / Acknowledgments --- p.iv / Editorial Note --- p.v / Table of Contents --- p.vi / Introduction --- p.1 / Chapter One --- "The Dialectic of Progressive Body: Self, Cosmos and New National Identity in Guo Moruo's The Goddesses" --- p.16 / Chapter I. --- Sources of Influence: Emergence of a Modern Body --- p.19 / Chapter II. --- The Instinctual Body as Creation of Progressive Self --- p.32 / Chapter III. --- The Metaphorical Body as Transfiguration of Cosmic Self --- p.50 / Chapter IV. --- The Passionate Body as Sacrifice for New National Identity --- p.61 / Summary --- p.71 / Notes --- p.73 / Chapter Two --- The Decadent Body: Toward a Negative Ethics of Mourningin Li Jinfa --- p.82 / Chapter I. --- Economy of Somatic Decadence --- p.87 / Chapter II. --- Aesthetics of Counter-Enlightenment --- p.100 / Chapter III. --- Narrative of Reflection: A Profane Illumination --- p.117 / Chapter IV. --- Toward a Negative Ethics of Mourning --- p.134 / Summary --- p.142 / Notes --- p.144 / Chapter Three --- The Narcissistic Body: Mnemonic Aura and Fragments of Modernity in Dai Wangshu --- p.148 / Chapter I. --- Modernity of Trivia and Fragments --- p.154 / Chapter II. --- The Memory Narrative: A New Syntax of Self-Reconstruction --- p.165 / Chapter III. --- The Tropics of Body Memory --- p.182 / Chapter IV. --- The Floral and the Feminine: Gift of the Senses --- p.191 / Chapter V. --- The Narcissistic Body: Toward an analytics of the Self --- p.221 / Summary --- p.231 / Notes --- p.233 / "Conclusion Modernity, Self-fashioning and the Will to Maturity" --- p.240 / Bibliography --- p.258 / Appendix --- p.273

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