Where Light Is and The Definition of Snow are linked manuscripts in which a world is held in lyrical suspension. In the process of speaking alongside one another, the stories and poems in these collections explore the repercussions of grief, loss, and loneliness and how these are affected by relationships and gender dynamics. “A Feeling" gives voice to the female narrator’s sense of disembodiment in “Series of Doors." “Fishtails" and “At Watch" probe into the kind of complex familial relationships brought about through addiction and loss, just like the young girls’ relationships with their parents in “All Around Us" and “Vesuvian Summer." Throughout these collections, the genres are connected by form. Modes overlap, allowing lyric stories to speak alongside narrative poems. There is an attempt to fuse interior and exterior landscapes, a desire to rework memory, to hold on to something already acknowledged as being lost. These stories and poems meet in a space of simultaneous loneliness and illumination: where bad things are about to happen, but beauty is still insistent. / Master of Fine Arts

Lost in Perception is a manuscript of narrative poems that are unflinching honest explorations of the self—emotional states-of-mind such as anxiety and anger, and states-of-being such as feelings of self-worthlessness. Confessional in nature these poems derive from familial relationships, domestic abuse, desire, sex and/or a combination of the aforementioned. To an extent, Lost in Perception is a manuscript of a diarist. It features a number of poems concerning a romantic relationship with an alcoholic that present a cohesive narrative within the collection. The narrator in Lost in Perception views the self as divergent from the self it once was and should be again—the self lacks well-being or wholeness—to become whole again most of the poems turn toward the natural world. The narrator perceives the self as existing in an unnatural state and what exists in nature is harmonious. The narrator wishes to take something from nature and apply to the self such that the self becomes whole again. There are two primary landscapes within Lost in Perception—Florida coastal lands and Southwest Virginia Appalachian foothills and valleys. The natural world is also the space where the narrator enacts an emotional response to work through personal turmoil. The narrator turns toward nature as a place to figure out and/or admit something about the self, rid the self of negativity and to articulate a desire—primarily for change to occur. Lost in Perception is an unabashed and clear presentation of an individual who once felt whole, but who now feels broken or stuck. / Master of Fine Arts

The Bass & The Boogeyman is a manuscript of poems that explores issues of sexuality, gender, and identity. The poems also attempt to reach an understanding of what it means to be a member of a largely marginalized social group (homosexuals). In this explorations and a attempts the poems are also engaged in finding the origins of fear. The poems follow one narrator from childhood into adulthood. While the poems do not provide the type of clear narrative and story arc one would expect from a novel, they do offer a sense of trajectory and reward the reader for reading from cover to cover. This manuscript is very aware of itself as a book and strives to exist as such (rather than as a stack of poems who happen to be in the same place at the same time). The manuscript features several connected poem series that work to provide cohesion to the collection. The poems Boys, Men, and Fags are an example of this connection between poems. Each of these three poems can be read as individual pieces, but when taken together they offer a commentary on all three groups that cannot be gained by reading them separately. The manuscript also employers a cast of repeating characters (the boy & the boogeyman among them) to give the collection the sense of narrative trajectory mention above. Lastly, the manuscript combines numerous traditional poetic forms with a wild and unruly use of pop culture and humor. The end result is proof that funny and serious are not always contradictory terms. / Master of Fine Arts

Esta tese oferece um panorama de ideias sobre a tradução do verso livre em inglês para o português com base em uma pesquisa feita com dez tradutores brasileiros, por meio de um questionário com 13 perguntas abordando diferentes aspectos do tema. A pesquisa contextualiza as respostas com um perfil detalhado de cada um dos tradutores que participaram dela e uma análise contrastiva do grupo em conjunto, com base nos conceitos de habitus e campo, desenvolvidos pelo sociólogo Pierre Bourdieu, aplicados à area da tradução. A tese conclui que a visão dos entrevistados reflete aspectos do conceito de verso livre, que engloba uma série de estilos poéticos, e enumera os pontos mais relevantes no conjunto das respostas, como a divisão dos poemas em versos livres em categorias, a necessidade de identificar o princípio de organização do poema e considerações a respeito da tradução do ritmo. / This thesis makes an overview of ideas on the translation of free verse from English into Portuguese based on a survey with ten Brazilian translators, who answered a questionnaire with 13 questions about different aspects of the subject. The study contextualizes the answers with a detailed profile of each participant, based on the concepts of field and habitus, developed by sociologist Pierre Bourdieu, applied to translation. It concludes that the answers reflect aspects of the concept of free verse and identifies the most important points, like the division of free verse poems into categories, the need to identify the organization principle of the poem, and considerations on translation of rhythm.

This study examines two translation approaches prominent among English translations of modern Japanese free verse poetry. The purpose is twofold: to provide a critical history of the first book-length English translations of individual poets, published over roughly a ten-year period; and to identify and examine, among those publications, works that took a distinctive and challenging translation approach. The main argument is that the chief works examined in this study each present a differing approach that challenges the dominant postwar discourse on translation in the Japanese literary studies community. The study fills a conspicuous gap in translation studies, since it is the first in-depth examination of modern Japanese poetry in translation. It focuses on two translation approaches, specifically “interpretive” and “source-oriented” translation, which have tended to be loosely associated with the vague notions of “free” translation and “literal” translation respectively. The importance of the study stems from its clarified definitions of these approaches through analyses of published translations featuring their rigorous use. It also suggests arguments for and implications of using and identifying these approaches, both for the translator and for translation scholars. Modern poetry was chosen as a genre because it features the two approaches prominently and because it was felt important to focus on a genre somewhat marginalised among publications of Japanese literature in translation. The study focuses in particular on translations published in the period 1968-1978, because this represented a flowering period of publications of modern Japanese poetry, including the first book-length publications of individual poets. Chapter One has two parts: definitions and contexts. The definitions section is a brief discussion of translation theory focusing on views that have gone beyond the “literal” versus “free” argument, and it examines a number of significant statements in the field of translations studies in order to develop useful definitions of key terms used throughout the study. The second half contextualises the significance of the chosen publications in the Japanese literary studies community. This includes a brief history of translation and translation theory focusing on the views of the dominant translators in the early postwar years, including discussions, disagreements or criticisms concerning the “right” way to translate. It also includes an analysis of attitudes towards modern poetry among scholars and translators of Japanese literature and a brief discussion of translations of modern Japanese poetry. Chapter Two examines poet Gary Snyder’s interpretive and transformative translations of Miyazawa Kenji’s (1896-1933) poems “Haru to shura” (Spring and Asura) and “Nusubito” (The Thief). The chapter shows how Snyder’s renditions of these poems can be related to the structure and themes of his own poetry collection The Back Country (1968) in which the translations appeared. By throwing his interpretive reading of these poems into the translations, as well as making some creative adjustments, Snyder allows the translations to fit within the thematic movement of his own collection. This chapter also argues that the act of identifying interpretive approaches in the case of poet-translators can be an an important tool in establishing links between the translations and the poet’s original literary works, and even further links with the poet’s life and philosophy. Chapter Three examines Hiroaki Sato’s translations of Hagiwara Sakutarō (1886-1942) in Howling at the Moon (1978). Sato takes an estranging, source-oriented approach similar to Lawrence Venuti’s concept of “foreignisation”, an approach that signals the difference of the source text and culture by departing from accepted language usage. With Sato’s translations we can observe the estranging effect of the source-oriented approach working in two directions: suggesting the difference of source text syntax from the target language perspective; and giving an equivalent effect of some unusual language use that was already estranging for source language readers. Sato sees the estranging function of Sakutarō’s syntax as an essential element of his poetry, and has developed his whole translation strategy around this view. Chapter Four discusses Cid Corman and Kamaike Susumu’s translations of Kusano Shinpei’s frog poems in frogs &. others. (1969). As with Sato’s versions of Sakutarō, Corman and Kamaike take a source-oriented approach, and their clever use of text selection and ordering as translation strategies has enabled them to convey their interpretation of Kusano Shinpei’s frog poems as directing a defamiliarising gaze back at humans and human society. Rather than aiming for complete linguistic accuracy as Sato does, they focus on a mirror-image source-oriented approach—often reproducing the source text’s word order and line order—not only as a means to suggest Kusano’s syntax, but also as a form of language experimentation and wordplay that enables their translations to stand out as autonomous poetic texts.

Mwanadamu amejaribu kwa vyovyote vile kuvumbua na kunyumbua mambo mapya ambayo yataleta mvuto na kupimia akili yake kiubunifu katika hali ya kutaka kutangamana zaidi na binadamu mwenzake au kutaka kuelewa zaidi ulimwengu wake. Ndiposa washairi wengi wa kisasa wanashikilia kwamba ulimwengu unabadilika na hivyo utamaduni wa ushairi lazima ubadilike. Katika wasilisho hili tunajadili mabadiliko haya ya kimaumbo na athari zake katika ushairi wa Kiswahili. Si lengo letu kushawishi msomaji kujiunga na kikundi fulani cha ushairi bali kuangazia hoja mwafaka zinazotokana na mivutano na mikinzano katika mabadiliko haya, na namna mitazamo hii inavyofanikisha maendeleo ya ushairi.

Thesis (Ph. D.)--University of Oregon, 2002. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 292-309).

This thesis is a book length collection of poetry—all original and by the author. The book has three chapters, each with a different mode of expressing the work’s overall theme: the remnants of unfulfilled wishes. The first chapter deals with ordinary or mundane manifestations of the theme. The second chapter covers extraordinary, but still feasible, variations on the theme. The final chapter deals with subconscious versions of these unfulfilled wishes. It is far more surreal than the other two chapters and exists in a sort of dream-reality. The poetry included in this work is all free verse. There are narrative and lyric poems present, along with other experimental modes of poetry. Even though plot threads run through some individual poems, the overall collection shares only thematic unity. The work, as the title implies, seeks to call attention the fragmentation of dead dreams after hope has burned away. In a sense then, this collection could be seen as a post-modern work. The poems are arranged within the chapters to either create groupings around minithemes, or to create sharp contrast. The order represented in this collection is an attempt to maximize impact. The cast of characters in this collection of poems is meant to be representative of the characters present in city life. There are drunks and prostitutes, mothers and fathers, lovers and ex-lovers, husbands and wives, sisters and brothers, schoolchildren, writers, grandparents, lawyers, politicians, photographers, gamblers and even corpses. These characters populate a world where unanswered wishes are as legitimate as minutes and hours as instruments to gauge the passing of lives—a poetic rendering of Earth at the beginning of the twenty-first century.

This study examines two translation approaches prominent among English translations of modern Japanese free verse poetry. The purpose is twofold: to provide a critical history of the first book-length English translations of individual poets, published over roughly a ten-year period; and to identify and examine, among those publications, works that took a distinctive and challenging translation approach. The main argument is that the chief works examined in this study each present a differing approach that challenges the dominant postwar discourse on translation in the Japanese literary studies community. The study fills a conspicuous gap in translation studies, since it is the first in-depth examination of modern Japanese poetry in translation. It focuses on two translation approaches, specifically “interpretive” and “source-oriented” translation, which have tended to be loosely associated with the vague notions of “free” translation and “literal” translation respectively. The importance of the study stems from its clarified definitions of these approaches through analyses of published translations featuring their rigorous use. It also suggests arguments for and implications of using and identifying these approaches, both for the translator and for translation scholars. Modern poetry was chosen as a genre because it features the two approaches prominently and because it was felt important to focus on a genre somewhat marginalised among publications of Japanese literature in translation. The study focuses in particular on translations published in the period 1968-1978, because this represented a flowering period of publications of modern Japanese poetry, including the first book-length publications of individual poets. Chapter One has two parts: definitions and contexts. The definitions section is a brief discussion of translation theory focusing on views that have gone beyond the “literal” versus “free” argument, and it examines a number of significant statements in the field of translations studies in order to develop useful definitions of key terms used throughout the study. The second half contextualises the significance of the chosen publications in the Japanese literary studies community. This includes a brief history of translation and translation theory focusing on the views of the dominant translators in the early postwar years, including discussions, disagreements or criticisms concerning the “right” way to translate. It also includes an analysis of attitudes towards modern poetry among scholars and translators of Japanese literature and a brief discussion of translations of modern Japanese poetry. Chapter Two examines poet Gary Snyder’s interpretive and transformative translations of Miyazawa Kenji’s (1896-1933) poems “Haru to shura” (Spring and Asura) and “Nusubito” (The Thief). The chapter shows how Snyder’s renditions of these poems can be related to the structure and themes of his own poetry collection The Back Country (1968) in which the translations appeared. By throwing his interpretive reading of these poems into the translations, as well as making some creative adjustments, Snyder allows the translations to fit within the thematic movement of his own collection. This chapter also argues that the act of identifying interpretive approaches in the case of poet-translators can be an an important tool in establishing links between the translations and the poet’s original literary works, and even further links with the poet’s life and philosophy. Chapter Three examines Hiroaki Sato’s translations of Hagiwara Sakutarō (1886-1942) in Howling at the Moon (1978). Sato takes an estranging, source-oriented approach similar to Lawrence Venuti’s concept of “foreignisation”, an approach that signals the difference of the source text and culture by departing from accepted language usage. With Sato’s translations we can observe the estranging effect of the source-oriented approach working in two directions: suggesting the difference of source text syntax from the target language perspective; and giving an equivalent effect of some unusual language use that was already estranging for source language readers. Sato sees the estranging function of Sakutarō’s syntax as an essential element of his poetry, and has developed his whole translation strategy around this view. Chapter Four discusses Cid Corman and Kamaike Susumu’s translations of Kusano Shinpei’s frog poems in frogs &. others. (1969). As with Sato’s versions of Sakutarō, Corman and Kamaike take a source-oriented approach, and their clever use of text selection and ordering as translation strategies has enabled them to convey their interpretation of Kusano Shinpei’s frog poems as directing a defamiliarising gaze back at humans and human society. Rather than aiming for complete linguistic accuracy as Sato does, they focus on a mirror-image source-oriented approach—often reproducing the source text’s word order and line order—not only as a means to suggest Kusano’s syntax, but also as a form of language experimentation and wordplay that enables their translations to stand out as autonomous poetic texts.

This study examines two translation approaches prominent among English translations of modern Japanese free verse poetry. The purpose is twofold: to provide a critical history of the first book-length English translations of individual poets, published over roughly a ten-year period; and to identify and examine, among those publications, works that took a distinctive and challenging translation approach. The main argument is that the chief works examined in this study each present a differing approach that challenges the dominant postwar discourse on translation in the Japanese literary studies community. The study fills a conspicuous gap in translation studies, since it is the first in-depth examination of modern Japanese poetry in translation. It focuses on two translation approaches, specifically “interpretive” and “source-oriented” translation, which have tended to be loosely associated with the vague notions of “free” translation and “literal” translation respectively. The importance of the study stems from its clarified definitions of these approaches through analyses of published translations featuring their rigorous use. It also suggests arguments for and implications of using and identifying these approaches, both for the translator and for translation scholars. Modern poetry was chosen as a genre because it features the two approaches prominently and because it was felt important to focus on a genre somewhat marginalised among publications of Japanese literature in translation. The study focuses in particular on translations published in the period 1968-1978, because this represented a flowering period of publications of modern Japanese poetry, including the first book-length publications of individual poets. Chapter One has two parts: definitions and contexts. The definitions section is a brief discussion of translation theory focusing on views that have gone beyond the “literal” versus “free” argument, and it examines a number of significant statements in the field of translations studies in order to develop useful definitions of key terms used throughout the study. The second half contextualises the significance of the chosen publications in the Japanese literary studies community. This includes a brief history of translation and translation theory focusing on the views of the dominant translators in the early postwar years, including discussions, disagreements or criticisms concerning the “right” way to translate. It also includes an analysis of attitudes towards modern poetry among scholars and translators of Japanese literature and a brief discussion of translations of modern Japanese poetry. Chapter Two examines poet Gary Snyder’s interpretive and transformative translations of Miyazawa Kenji’s (1896-1933) poems “Haru to shura” (Spring and Asura) and “Nusubito” (The Thief). The chapter shows how Snyder’s renditions of these poems can be related to the structure and themes of his own poetry collection The Back Country (1968) in which the translations appeared. By throwing his interpretive reading of these poems into the translations, as well as making some creative adjustments, Snyder allows the translations to fit within the thematic movement of his own collection. This chapter also argues that the act of identifying interpretive approaches in the case of poet-translators can be an an important tool in establishing links between the translations and the poet’s original literary works, and even further links with the poet’s life and philosophy. Chapter Three examines Hiroaki Sato’s translations of Hagiwara Sakutarō (1886-1942) in Howling at the Moon (1978). Sato takes an estranging, source-oriented approach similar to Lawrence Venuti’s concept of “foreignisation”, an approach that signals the difference of the source text and culture by departing from accepted language usage. With Sato’s translations we can observe the estranging effect of the source-oriented approach working in two directions: suggesting the difference of source text syntax from the target language perspective; and giving an equivalent effect of some unusual language use that was already estranging for source language readers. Sato sees the estranging function of Sakutarō’s syntax as an essential element of his poetry, and has developed his whole translation strategy around this view. Chapter Four discusses Cid Corman and Kamaike Susumu’s translations of Kusano Shinpei’s frog poems in frogs &. others. (1969). As with Sato’s versions of Sakutarō, Corman and Kamaike take a source-oriented approach, and their clever use of text selection and ordering as translation strategies has enabled them to convey their interpretation of Kusano Shinpei’s frog poems as directing a defamiliarising gaze back at humans and human society. Rather than aiming for complete linguistic accuracy as Sato does, they focus on a mirror-image source-oriented approach—often reproducing the source text’s word order and line order—not only as a means to suggest Kusano’s syntax, but also as a form of language experimentation and wordplay that enables their translations to stand out as autonomous poetic texts.