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This dissertation is a qualitative case study of a woman's poetic process. Rather than examine creativity from the outside, I have viewed it from the inside in an attempt to document my direct engagement, as an emergent woman poet, with my own writing. I have conducted personal, poetic research throughout this project in an attempt to construct a self-portrait of my own creativity. / To do so, I have not attempted to prove a thesis, or strive for scientific objectivity. As the portrait of a woman's imagination, this text narrates the winding course of a transformative journey brought about by my experimentation with a number of writing strategies, or heuristics. Because the drafting of poems is a highly unpredictable endeavour, I have drawn on various techniques, discarding one if I became blocked in order to experiment with the hoped for success of the next. / Chief among the heuristics I have employed was a yearlong fictive correspondence that I entered upon with the Modernist poet, H.D. [Hilda Doolittle]. During our exchanges, I would send her my musing about the writing process along with my poetry which she would critique and send back to me. After completing this epistolary venture, I analysed what our letters revealed about what both blocked and freed my developing voice. I conducted this investigation by laying down a secondary strata of theoretical intertexts addressed to a "Dear Reader" who symbolized my audience made up of my academic committee, in specific, and of writing theorists and scholars in general. / I then appended this two-tiered effort with an introduction, multiple conclusions, and a closing-poem. The resulting structure of my dissertation is that of a palimpsest, a genre that H.D. herself often employed to create a more fluid convergence of autobiographical and mythic motifs. Other heuristics such as key word analysis, bodywork, a photograph exercise, dreams, travel, and the retelling of a fairy tale have been called upon, as well, to further inspire this palimpsest of the poetic process.

"It is with one of the publishing awards available to young poets that this study is concerned, namely, the Yale Series of Younger Poets, which has been offered since 1919 by the Yale University Press. Because this award was initiated to furnish a medium of publication for a first volume by a young poet as a stimulus to further writing, this writer was interested in determining whether this award proved to be an incentive to further writing by the individuals of the group. This study, therefore, is an attempt to determine if the first forty poets represented in the Series continued writing after their first publication, and if so, in what media, and if further literary recognition was awarded to any of the group"--Introduction. / Typescript. / "August, 1953." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Agnes Gregory, Professor Directing Study. / Includes bibliographical references (leaves 102-105).

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Orientadora: Ana Maria Domingues de Oliveira / Banca: Cleide Antonia Rapucci / Banca: Sandra A. Ferreira / Banca: Dilip Loundo / Banca: José Hélder Pinheiro Alves / Resumo: A presença da Índia na biografia e na obra de Cecília Meireles é notável. A relação entre a poetisa e a Índia apresenta-se de forma explícita e implícita em sua produção: por um lado, tem-se o volume Poemas escritos na Índia, paralelamente às diversas crônicas sobre esse país, assim como conferências e aulas; por outro lado, em sua lírica, há inúmeros poemas que permitem a leitura de princípios, temas e nuances do pensamento filosóficoreligioso tipicamente indiano, reconhecíveis como associáveis ao hinduísmo ou ao budismo. Em nossa análise, partimos da premissa de ser imprescindível tanto a leitura de poemas sobre a Índia (paisagens, cotidiano e personalidades), como o levantamento temático dos aspectos filosófico-religiosos indianos na lírica ceciliana, por meio de análises interpretativas de poemas, demonstrando que a Índia e o pensamento indiano se apresentam nessa poesia horizontal e verticalmente. Assim, as primeiras seções analíticas são dedicadas ao país como locus para o qual a poetisa volta sua atenção e o adota como cenário, como motivo de alguns poemas; ou do qual elege personagens sobre os quais trata. Abordamos, primeiramente, a relação entre a poetisa e a Índia, por meio de dados biográficos, crônicas e da análise do poema "Cântico à Índia pacífica". Em seguida, falamos da relação de Cecília com os dois indianos renomados e analisamos poemas dedicados a eles: o pensador, educador e poeta Rabindranath Tagore e o poema "Diviníssimo Poeta", e o pacifista Mohandas K. Gandhi, e o poema "Mahatma Gandhi". Então, enfocamos o livro Poemas escritos na Índia, fruto de sua viagem à Índia em 1953, e pensamos, por um lado, em Cecília como poetisa-viajante, e discorremos brevemente sobre o ato de viajar para ela. E, por outro lado, averiguamos que a mulher indiana se destaca no volume, e, assim, analisamos dois poemas sobre a mulher... / Abstract: The presence of India in Cecília Meireles's biography is considerable. The relationship between the poetess and India presents itself both explicitly and implicitly in her writings: on one hand, there is the title Poems written in India, parallel to it there are a lot of chronicles and lectures about this country; on the other hand, dozens of poems allow the inference of premises, nuances, and themes related to Indian philosophical and religious thought, related to Hinduism and/or Buddhism. In this present analysis, we started up based on the premise that it is unavoidable both considering the poems on India (Indian sceneries, daily life and individuals), and the inventory of philosophical/religious aspects in the poems, by means of interpretative analysis, showing that India and Indian thought appear in Cecília's poetry vertically and horizontally. In this light, we dedicate the first analytical sections to the country as a place at which Cecília devotes her attention, employ as background for several poems, and from where she elects some individuals about whom she writes. We approach, firstly, the relationship between Cecília and India, by looking at biographical data, travel chronicles and the analysis of the poem "Hymn for peaceful India". Then, we discuss the relationship between Cecília and two renowned Indian personalities, in whose honor she dedicated poems, lectures, etc., i.e., the Indian poet, thinker and educator Rabindranath Tagore, and the poem "The most divine poet", and the pacifist Mohandas K. Gandhi, and the poem "Mahatma Gandhi". After that, we focus on the book Poems written in India, result of her trip there in 1953, and we consider, on one hand, Cecília as a traveler, and, on the other, her view on Indian women and their work as we analyze two poems, "Humility" and "Puri Women". The latter in comparison to another poem, "Ballad for the ten... / Doutor

When Geoffrey Chaucer depicts characters debating the flaws of his works in The Legend of Good Women, or when Marie de France tells histories of literary transmission to frame her Lais, these authors are writing what I describe as metapoetic narratives. By "metapoetic" I mean that their works are in part about the making of poetry, commenting on the authors' poetic activity and creative processes from within. My dissertation, "Revisionary Retelling: The Metapoetics of Authorship in Medieval England," examines how this self-conscious mode of writing enables certain vernacular authors to reflect on their positions as retellers of well-known narratives and established literary traditions. I argue that such self-reflection is central to the efflorescence of vernacular literatures in medieval England. In the last few decades, scholars have called into question the idea that the Middle Ages valued only established literary authority and had no interest in originality, with recent critics noting how medieval authors do make conscious use of the interpretive and distorting possibilities of translation and retelling. Although this line of criticism has been revolutionary, it still tends to view literary authority as inherently limited, so that newer authors must remain entirely subordinate to their sources or seek to replace them. This dynamic of limited authority would seem to be intensified for Anglo-Norman or Middle English retellers; long-standing scholarly narratives have similarly cast the English vernacular languages as competing for linguistic authority with Latin and French. "Revisionary Retelling" challenges these understandings of vernacular creativity by bringing to light the alternative conceptions of authorship and literary authority being invented and explored by writers working in both Anglo-Norman and Middle English. Rather than simply accepting or rejecting a subordinate status, authors such as Marie de France, the Orfeo poet, Thomas Chestre, Geoffrey Chaucer, and John Lydgate take a revisionary view of the challenges inherent to translation and retelling: challenges such as intertextual dependencies, interpretive distortions, and the recombination of traditions. In their metapoetic narratives, these writers theorize authorship and literary authority by dramatizing those types of literary challenges, as well as their processes of revision more broadly. As these authors tell stories about the possibilities and problems of vernacular retelling, they simultaneously imagine and enact a type of authorship--and a type of authority--based in creative revision. The first chapter traces this metapoetic mode back to Marie de France's Anglo-Norman Lais, arguing that Marie offers a vision of authorship as an ongoing, trans-historic process of collaborative interpretation. Chapter Two examines how later Middle English lay authors consciously use their second-class status in relation to the French lays to leverage themselves into a position of critical distance from the traditions on which they draw. The third chapter argues that Chaucer willfully depicts his own canon as dependent and unstable in his catalogues of his works, and thereby takes ownership of the challenges of vernacular authorship and invents himself as an authoritative Middle English writer. In my fourth chapter, I suggest that the proliferation of literary authorities in John Lydgate's Fall of Princes, which might seem to constrain and subjectify the text, counter-intuitively asserts the equal value of writing across languages, time, and retellings. Together, these four chapters demonstrate the rich complexity of medieval critical retelling and the power of retold narratives to creatively revise not just their sources, but also literary history itself.

No abstract available. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2010.