The thesis commences an examination of Williams's divided nature and conflicted personality. The connection between the "hidden core" of Williams's life claimed in the Autobiography and his repressed sexual desire as divulged in his poetry is primarily concerned. From Chapter Two to Chapter Four, I attempt to demonstrate that Williams, in the poetic world, finds an outlet to release the suppression of his desire. Especially in his earlier poetry imbued with the poet's highly autobiographical elements, written from 1909 to1939, Williams projects his repressed sexual desire unto the images of nature, woman and little girl. In an essay "Vortex," Williams argues that he is entitled to take any object or even the entire world as a vehicle for self-expression. I employ this argument for approaching Williams's nature poems. The image of female can be deemed as one of the cardinal subjects in Williams's poetry. In exploring Williams's poems about women and little girls, I have two main concerns: first, I examine how he constructs the sexy nature of varied women to dissimulate his erotic nature and projection; second, I inspect how he deconstructs the innocence of little girls so as to exonerate his adult sexual deviation. The thesis concludes with a brief comparison between Williams and some contemporary poets for affirming the uniqueness of his sensual and even erotic nature as a Modernist poet. In a word, Williams is inspired to write poetry by the strong impulse of his repressed sexual desire.

Thesis (Ph. D.)--University of California, Riverside, 2009. / Includes abstract. Includes bibliographical references (leaves 189-195). Issued in print and online. Available via ProQuest Digital Dissertations.

Habilitationsschrift--Mainz. / Includes bibliographical references (p. [243]-246).

Thesis (Ph.D.)--Uppsala University, 1983. / Akademisk avhandling : Litteraturvetenskap : Uppsala : 1983. - Bibliogr. p. 161-166. -

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No description available.

The thesis undertakes a Buddhist reading of Mary Oliver’s oeuvre. It seeks to fill a palpable lacuna in extant criticism of her work, which tends to adopt Romantic, Feminist, Ecocritical, and Christian viewpoints. Thus far, no criticism has offered a sustained reading of her work from a specifically Buddhist stance. The thesis is structured in five chapters. The introductory chapter is followed by a literature review. The next three chapters are devoted to the Buddhist themes of Mindfulness, Interconnection, and Impermanence respectively. Each chapter opens with detailed consideration of its respective theme before moving on to the analysis and amplification of poems pertinent to it. In addition, the main Buddhist theme of each chapter is subdivided into its component sub-themes or corollaries. The main methodological approach to Oliver’s poetry comprises explication de texte as this makes provision for detailed readings of the texts themselves. Furthermore, this approach has been adopted because it allows for in-depth exploration of Oliver’s literary devices, three notable examples of which are anaphora, adéquation, and correspondence. In the course of the discussion, reference is also made to the influence of Imagism and, more specifically, the Japanese haiku tradition insofar as they impact on her poetry. This discussion is intended to give some indication of Oliver’s place within the American poetic tradition. The predominant subject-matter of her corpus is an all-encompassing view of the natural world with its birth-life-decay-death cycle. She does not flinch from addressing the harsh and violent aspects of nature as well as its exuberance and beauty. Her unifying topos is being the bride of amazement as witness to the natural world. For her readers, this witnessing translates into an inner, potentially transformative process, ultimately integrating mind and heart. The thesis concludes with a list of references and a glossary of the Buddhist terms. / Thesis (PhD (English))--North-West University, Potchefstroom Campus, 2013.

The thesis undertakes a Buddhist reading of Mary Oliver’s oeuvre. It seeks to fill a palpable lacuna in extant criticism of her work, which tends to adopt Romantic, Feminist, Ecocritical, and Christian viewpoints. Thus far, no criticism has offered a sustained reading of her work from a specifically Buddhist stance. The thesis is structured in five chapters. The introductory chapter is followed by a literature review. The next three chapters are devoted to the Buddhist themes of Mindfulness, Interconnection, and Impermanence respectively. Each chapter opens with detailed consideration of its respective theme before moving on to the analysis and amplification of poems pertinent to it. In addition, the main Buddhist theme of each chapter is subdivided into its component sub-themes or corollaries. The main methodological approach to Oliver’s poetry comprises explication de texte as this makes provision for detailed readings of the texts themselves. Furthermore, this approach has been adopted because it allows for in-depth exploration of Oliver’s literary devices, three notable examples of which are anaphora, adéquation, and correspondence. In the course of the discussion, reference is also made to the influence of Imagism and, more specifically, the Japanese haiku tradition insofar as they impact on her poetry. This discussion is intended to give some indication of Oliver’s place within the American poetic tradition. The predominant subject-matter of her corpus is an all-encompassing view of the natural world with its birth-life-decay-death cycle. She does not flinch from addressing the harsh and violent aspects of nature as well as its exuberance and beauty. Her unifying topos is being the bride of amazement as witness to the natural world. For her readers, this witnessing translates into an inner, potentially transformative process, ultimately integrating mind and heart. The thesis concludes with a list of references and a glossary of the Buddhist terms. / Thesis (PhD (English))--North-West University, Potchefstroom Campus, 2013.

No description available.

Thesis (Ph.D.)--Tufts University, 1998. / Adviser: Deborah Digges. Submitted to the Dept. of English. Includes bibliographical references (leaves 275-289). Access restricted to members of the Tufts University community. Also available via the World Wide Web;