This thesis examines the literary deployment of the visual in the work of H. D. (Hilda Doolittle). Beginning with a discussion of the early poetry of Sca Garden (1916) and the essay Notes on Thought and Vision (1919), 1 argue that H. D. 's categorisation as an Imagist poet has effaced the political and aesthetic possibilities opened up by her prose and later work. H. D. *s representation of 'womb vision' in Notes on Thought and Vision can be seen to anticipate the notion of' the 'creating spectator' in the theoretical writings of the Soviet film director. Sergei Eisenstein. Thus, by considering Sea Garden alongside developments in early cinema, I re-evaluate the image in H. D. *s early work, and locate her poetics not as 'static" but as kinetic. H. D. was also directly involved in film-making and in the writing of film criticism. Chapter Two explores how her engagement with the moving image is inscribed into the autobiographical novel Her, written in 1917. Examining Her alongside the silent film Borderline (1930), which H. D. helped to produce, this chapter explores issues of sexual and racial difference which are foregrounded through the formal devices employed in both texts. Chapter Three examines Tile Gýfi, which was written during the Second World War, in the light of H. D. 's contributions to the film journal Close Up (1927-33). This reading not only illuminatcs the political and ideological implications of H. D. 's use of the visual, it explores the intersections between literary and visual cultures at the beginning of the twentieth century. Accounts of cinema are largely absent from the history of literary Modernism and the thesis therefore goes some way towards a revisionist analysis of the period. Chapter Four extends the paradigm of the visual in H. D. 's work still further, analysing her memoirs Tribute To Freud (1956) and the unpublished Mqiic Ring (1943-44) in the light of her involvement with spiritualism. Both these texts encode a critique of the scientific 'gaze' exemplified by psychoanalysis and offer possibilities for an alternative model of 'seeing' which is predicated upon spiritual, or visionary, experience. Returning to the discourse of the cinema in Chapter Five, I contextualise my reading of Helen in EDIpt (1961 ) within debates about synchronised sound in early cinema. I also explore H. D. 's construction of female subjectivity and corporeality in Helen in the light of recent feminist film theory. In many ways H. D. 's work anticipates the preoccupations of recent feminist thinkers such as Luce Irigaray, H616ne Cixous and Judith Butler. These writers - along with recent feminist film theorists like Mary Ann Doane and Laura n Mulvey - provide a theoretical underpinning for the thesis. Such an approach permits a questioning of H. D. 's perceived position as a 'Modernist' poet. Furthermore, in the light of postmodern preoccupations with process, fluidity and flux, it is possible to see how dominant configurations of gender and sexuality are. through H. D. 's work, deliberately, and consistently, unsettled.

This dissertation examines the influence of film on the poetry of H.D., Marianne Moore, and Adrienne Rich. It builds on scholarship by Susan McCabe (2005), Lawrence Goldstein (1994) and others, who have traced the way twentieth-century American poets reacted formally to film culture in their writing. My project responds to the call of the editors of the volume of Close Up 1927-1933: Cinema and Modernism for critics to interrogate how authors harnessed the aesthetic and political possibilities opened up by cinema. This study draws from theories of feminist film phenomenology by Vivian Sobchack and Laura U. Marks to analyze the aims and arguments of the texts. The literary works studied include: H.D.’s Sea Garden, “Projector” series, Trilogy, Helen in Egypt, and film essays; Marianne Moore’s animal poems from the 1930s and early 1940s and film essays; and Adrienne Rich’s The Will to Change. This dissertation argues that the poets drew from film to renovate their poetic vision and forms and ply at questions of power, visuality, and bodies. The poems articulate an awareness of the filmic gaze and how it constructs feminine or animal others. Through careful analysis of the poems, this dissertation locates each poet’s particular rapport with film and how it influenced her literary style and prompted her to challenge dominant patriarchal scripts. This dissertation makes several original contributions to twentieth-century Anglo-American poetry scholarship. It sets these three authors alongside one another to reveal how their engagements with film inspired their poetics and politics at various points throughout the twentieth century. The conclusions herein determine how the poets turned to film to construct their poetic projects. The dissertation offers new readings of the work of H.D., Moore and Rich as queer women poets invested in film culture. / Graduate

Text in English, with abstracts and keywords in English and Sesotho / This doctoral study investigates the practice of narrative strategies in the creation of animated poetry-film. The status of the animator as auteur of the poetry-film is established on the grounds of the multiple instances of additional authoring that the animated poetry-film requires. The study hypothesises that diverse narrative strategies are operative in the production of animated poetry-film. Two diametrically opposed strategies are identified as ideal for the treatment of lyrical narrative. The first narrative strategy explored is that of metamorphosis, demonstrating how the filmic material originates and grows organically via stream of consciousness and free association. The second narrative strategy entails a calculated approach of structuring visual imagery and meaning through editing from a pre-existing visual lexicon. In both cases, the interdependence is explored between embodied activity and conceptual activity, between tacit and explicit knowledge in the creative act. These two strategies are practically investigated through my creative praxis, specifically the production of two animated poetry-films, Mon Pays and Parys suite. Through these works, the strategies are tested for their effectivity in communicating visual content not contained in the poetry-text, yet adding value to the poetry/animated film hybrid. Animated poetry-film is theoretically contextualised in terms of intermediality and the specific multi-modal nature of the medium. The construction of animated poetry-film is explored through the research study consisting of a thesis and two animated poetry films, with the hope of contributing to research on animated poetry-film specifically, and to animation theory within the South African context. / Dinyakišišo tše tša bongaka di nyakišiša tiro ya mekgwa ya kanagelo ge go hlangwe difilimi tša go ekišwa ke diphoofolo. Maemo a moekiši wa diphoofolo bjalo ka molaodi wa filimi ya theto a hwetšwa go seemo sa mabaka a mantši a go ngwala ka tlaleletšo fao go nyakwago ke filimi ya theto ya go ekišwa ke diphoofolo. Dinyakišišo tše di šišinya gore mekgwa ya kanegelo ye e fapafapanego e a šomišwa ka go tšweletšo ya filimi ya go ekišwa ke diphoofolo. Mekgwa ye mebedi ye e thulanago e a hlaolwa bjalo ka yeo e swanetšego go šomišwa go kanegelo ya mantšu. Leano la mathomo la kanegelo leo le utollotšwego ke la kgolo ya diphoofolo, leo le laetšago ka fao dingwalwa tša filimi di tšwelelago le go gola ka tlhago ka tatelano ka sengwalwa seo se ngwadilwego ka moela wa kwešišo le poledišano ya go hloka mapheko. Leano la bobedi la klanegelo le mabapi le mokgwa wo o nepišitšwego gabotse wa go beakanya seswantšho sa go bonwa le tlhalošo ka go rulaganya go tšwa go polelo ya peleng ya seo se bonwago. Mabakeng ka bobedi, go amana fa go utollwa magareng ga tiro ye e kopantšwego le tiro ye e gopolwago, magareng ga tsebo ye e kwešišwago le yeo e lego nyanyeng ka tirong ya boitlhamelo. Mekgwa ye mebedi ye e a nyakišišwa ka go diriša mokgwa wa ka wa boitlhamelo, kudukudu go tšweletšwa ga difilimi tše pedi tša go ekišwa ke diphoofolo tšeo di bitšwago, Mon Pays le Parys suite. Ka mešomo ye, mekgwa ye e lekwa ka ga go šoma gabotse ga yona gabotse go hlagiša diteng tša go bonwa tšeo di sego gona ka gare ga Sengwalwa sa theto, le ge go le bjale e tsenya boleng go mohuta wa filimi ya theto/ya kekišo. Filimi ya theto ya go ekišwa ke diphoofolo e amantšhwa ka teori mabapi le kgokaganyo le sebopego sa yona sa mekgwa ye mentši ya polelo. Tlhamo ya filimi ya theto ya go ekišwa ke diphoofolo e utollwa ka dinyakišišo tšeo di nago le taodišo le difilimi tše pedi tša theto tša go ekišwa ke diphoofolo, ka kholofelo ya go tsenya letsogo go dinyakišišo mabapi le filimi ya theto ya go ekišwa ke diphoofolo kudukudu, le go teori ya kekišo ka gare ga seemo sa Afrika Borwa. / Art and Music / Ph. D. (Art)