The thesis examines the relationship between poetry and politics under Elizabeth and James, tracing certain changes in modes of artistic representation through historical analysis of particular masques and entertainments. The introductory chaper discusses the close connection between poetry and ceremonial in the Renaissance: in panegyric the poet's private imagination is subordinated to public images, and his art is one of ceremonial "ornamentation". Subsequent chapters discuss the effects of social, political and religious changes on this ceremonial poetic. Chapter 31 relates the political symbolism of Tho Faerie Queene to the tradition of pageantry on which it was based, and analyzes the growing tension in the later books between public and private vallies. Chapter III discusses the new developments of the 1590s, arguing that both in politics and in literature new tensions were being felt. The first part deals with the poets associated with Essex, the second with the poetry of Sir Walter Ralegh. Chapter IV discusses the effects on panegyric of the new, less external concepts of decorum introduced by the writers of the "plain style", with special reference to FullcGreville and Samuel Daniel. Chapter Y deals with Jonson's masques, showing that while in political concent they mirror the line taken by the king and his more conservative advisers, in artistic form they display an ambivalence characteristic of Jonson's work. Chapter VI discusses the Jacobean poets wco imitated Spenser, showing the continuity of l.heir political concerns from the public poetry of the 1590s and arguing that Spenserian poetry, especially pastoral, became a protest against the corruption of the Jacobean court. A newly discovered draft of a masque for the wedding of Princess Elizabeth in 1613 is included in an Appendix.

This thesis represents the first extended study of South African poetry in English from a gender perspective. It is conceived in two parts: firstly, a deconstructive analysis of the dominant tradition of South African English poetry in order to reveal its masculine or androcentric base; and secondly, the reconstruction of an alternative gynocentric tradition that gives primacy to women and the feminine in poetry. The first section consists of an examination of the ways in which the feminine has been. excluded from the poetic tradition in historical terms by means of social and economic constraints on women. The study begins with a brief reference to the beginnings of cultural gender discrimination in British poetry, from which South African English poetry derives, and then moves to a more extended consideration of the ways in which this discrimination has manifested itself in the South African context in the nineteenth and twentieth centuries. This is followed by an analysis of the "poetics of exclusion", the ways in which the tradition genders itself as masculine by defining its central speaking position or subjectivity as male and masculine, and so excludes women and the feminine. The second section commences with the reconstruction or recovery of a gynocentric tradition of women's poetry in English in South Africa by means of a gynocritical "map" or survey, followed by a discussion of the nature of the feminine discourse or "poetics" required to provide the critical context for this poetry. The preliminary "map" is given greater detail by in-depth discussion of the women poets considered to be major contributors to the gynocentric tradition: Mary Morison Webster, Elisabeth Eybers, Tania van Zyl, Adele Naude, Ruth Miller, Ingrid Jonker and Eva Bezwoda. The study ends with an examination of the work of contemporary women poets in South Africa, especially the black women poets of the 1970s and '80s, and the poets - both black women and white women - who wrote from exile in the 1980s. / Thesis (Ph.D.)-University of Natal, Durban, 1993.

No description available.

Thesis (M.A.)--University of New Brunswick, 1999. / Includes bibliographical references.

Thesis (Ph. D.)--Kassel, 1987. / Includes bibliographical references (p. 237-247).

Honors Project--Smith College, Northampton, Mass., 2009. / Includes bibliographical references (p. 101-106).

No description available.

A collection of mostly lyrical poems. The poems explore moments of experience and thought relating to longing and belonging, in terms of relations, memory and place. The poems are mostly short and intense. Silence and implied meanings are often as important as what is said; shadows are evoked to recall substance. Though short, the poems are not tightly closed – on the contrary, meanings proliferate in the process of exploration.

In both my English and IsiXhosa poetry, my themes are love, politics, and the social issues of rural communities, and include my own life experiences, both good and bad. My poems are mainly short narrative accounts of township life. Although they do have a broad educational purpose, they do not preach to the reader. In IsiXhosa, my poetic forms are influenced by the works of J J R Jolobe, W N Mbovane, P T Mtuze, and my English poems by Pablo Neruda, Mafika Pascal Gwala, Garcia Lorca and others. / Intliziyo yona izimele gxebe ifihlakele Iyimfihlo, kumagumbi omphefumlo. Iyafunxa, ifukame kulo magumbi amxinwa. Iingcango, mba! Zivaliwe! Maxa wambi zide zixel’ isisila senkukhu, sona sibonwa mhla ligquthayo. Vul’ amehlo ubaz’ iindlebe uchul’ ukunyathela. Yiza ndikubambe ngesandla, sivul’ iingcango! Masivul’ iingcango zentliziyo yam, sikrobe ngaphakathi! Masithi ntla‐ntla kumagumb’ amathathu kuphela! Masithi ntla‐ntla, kwelepolitiki yakwaXhosa, Kaloku nam ndingumXhosa! Masithi ntla‐ntla kwelifukame, i.z.i.x.i.n.g.a.x.i n.o.b.u.n.c.w.a.n.e. b.o.t.h.a.n.d.o, kaloku nam ndinemithamb’ ebalek’ igaz’ eliqhumayo! Ucango lokugqibela lukungenisa kwigumbi elinezidl’ umzi, Kaloku nam ndizalwa kulo mzi wakwaXhoooooosa! / This thesis is presented in two parts: English and isiXhosa.

A collection of mostly lyrical poems. The poems explore moments of experience and thought relating to longing and belonging, in terms of relations, memory and place. The poems are mostly short and intense. Silence and implied meanings are often as important as what is said; shadows are evoked to recall substance. Though short, the poems are not tightly closed – on the contrary, meanings proliferate in the process of exploration