The purpose of this study is to explore elements of the Romantic tradition in the poetry of Maxine Kumin and the poetic voice of Ms. Kumin as she writes in this tradition. The poet's choice of poetic-persona illustrates a growth of the consciousness, an identity of self. Of particular interest is the poet's close interaction with nature and use of natural symbols and images. A principal motif in Kumin's poetry is the common man. Another theme is the poet's role in the family. In poems exalting nature and the person who lives in simple and close interaction with nature, a number of men from the past and present are subjects of Kumin's poetry.

Abstract “LANDSCAPES SUBLIME: IMPERIALISM, THE WILDERNESS IDEAL AND THE HISTORY OF CONSERVATION IN TANZANIA" The aim of this dissertation is to trace the implications that Western views of nature have had for the restructuring of African landscapes through the creation of game reserves and national parks, with a particular focus on Tanzania. I contend that wilderness spaces are the main repositories of a western imaginary that longs for those places where nature is prodigious and untamed, uncontaminated by development and devoid of people. The idealization of landscapes is derived from the aesthetic of the Romantic sublime with its dual impulse: the quest for escape from a fragmenting and morally corrupting capitalist society, and the search for the immutable and the transcendent in landscape 'untouched' by development. In Africa the physical manifestation of the wilderness landscape ideal came to be reflected in real space – the space of the East African national park. To produce a wild landscape in which animals roam free required the reproduction of a certain ideology of nature which may have been inaugurated during the colonial period, but which has been assimilated and even expanded by post-colonial regimes like Tanzania. Why is it, I ask, that the wilderness landscape ideal is so remarkably persistent in the post-colonial, post-socialist Tanzania of today? Taking the approach of scholars like Mitchell, I ask not just what landscape ‘is or ‘means’ but what it does in this context.

O objetivo deste trabalho é comprovar que um modo peculiar de descrição paisagística percorre a primeira parte de O turista aprendiz (1927-1943), de Mário de Andrade. A paisagem literária que compõe essa obra do escritor arlequinal é estruturada a partir do diálogo do narrador (anti)viajante com perspectivas, padrões e processos artísticos de outras artes que, reunidos, conferem ao diário de viagem uma profundidade narrativo-descritiva. O estudo detido de três grandes quadros do diário amazônico Foz do Amazonas, Vitória-régia e Alvorada , realizado nesta tese, permite perceber a forma difícil do fazer paisagem do autor modernista, motivado, sobretudo, pela releitura crítica das produções literárias e científicas de tradição romântica. / The aim of this study is to demonstrate that Mario de Andrade describes the landscape in a singular way in the first part of his book O turista aprendiz (The Apprentice Tourist) (1927- 1943). The literary landscape that constitutes this work of the harlequin author is based on the (anti)traveler narrator\'s dialogue with other kinds of art. These different artistic perspectives, standards and processes are combined and provide a narrative-descriptive depth to the authors travel journal. A detailed study of three large pictures of Mario de Andrades Amazonic journal Foz do Amazonas, Vitória-régia and Alvorada is developed in this thesis. The analysis provided unveils the intricate way chosen by the modernist author to compose the landscape, mainly motivated by the critical rereading of literary and scientific writings of the Romantic Tradition.

O objetivo deste trabalho é comprovar que um modo peculiar de descrição paisagística percorre a primeira parte de O turista aprendiz (1927-1943), de Mário de Andrade. A paisagem literária que compõe essa obra do escritor arlequinal é estruturada a partir do diálogo do narrador (anti)viajante com perspectivas, padrões e processos artísticos de outras artes que, reunidos, conferem ao diário de viagem uma profundidade narrativo-descritiva. O estudo detido de três grandes quadros do diário amazônico Foz do Amazonas, Vitória-régia e Alvorada , realizado nesta tese, permite perceber a forma difícil do fazer paisagem do autor modernista, motivado, sobretudo, pela releitura crítica das produções literárias e científicas de tradição romântica. / The aim of this study is to demonstrate that Mario de Andrade describes the landscape in a singular way in the first part of his book O turista aprendiz (The Apprentice Tourist) (1927- 1943). The literary landscape that constitutes this work of the harlequin author is based on the (anti)traveler narrator\'s dialogue with other kinds of art. These different artistic perspectives, standards and processes are combined and provide a narrative-descriptive depth to the authors travel journal. A detailed study of three large pictures of Mario de Andrades Amazonic journal Foz do Amazonas, Vitória-régia and Alvorada is developed in this thesis. The analysis provided unveils the intricate way chosen by the modernist author to compose the landscape, mainly motivated by the critical rereading of literary and scientific writings of the Romantic Tradition.