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A study of the third generation poetry from the gender perspective = Xing bie shi jiao xia de "di san dai" shi ge / A study of the third generation poetry from the gender perspective = 性別視角下的"第三代"詩歌Mei, Zhen, 梅真 January 2013 (has links)
The Third Generation Poetry that existed in the 1980s’ Chinese literary circle has usually been regarded as the rebellion of the prevailing Misty Poetry. The Third Generation poets began to experiment with colloquial poems which were emphasizing on individual expressions and advocating for the importance of “self”, including the ego and sub-consciousness of both male and female. Through the gender perspective, it could be observed the Third Generation Poetry was rich in gender flavor. The poets especially those of the Female Poetry and the Boorish Fellows Poetry had respectively expressed the awareness and concerns of their own with poem writings.
The Female Poetry, featured with the structure of group poems, the rhetoric of metaphor and symbol, the connotation of the nocturnal consciousness and the lyric of confession, was a showcase for female perception. The issues regarding ego, private space, social identity, pain and love as well as "body writing" had been narrated and depicted by most of women writers. In the meantime, the poetry written by male turned to the descriptions of the lack of masculinity, or the flaunting of male power, or groaning with bitterness. Besides, the desire to vent, the memories of growth and even the detestation on the phenomenon of female being butchered had also been illustrated. Therefore an alternate inspection of the male poets’ views on female and vice versa would help to have a better understanding of gender concepts and the changing relationship between men and women in the last few decades of Chinese society.
Apart from thinking of gender differences and sexual identities the Third Generation Poetry not only focused on the relationship between parents and their children, but also on the connotations of the traditional idea of reproduction and the infant imagery, and even on portraying the rare image of the ego of androgyny. In addition, The Third Generation poetry also presented abundant interlinked gender imagery, such as natural things and body, the darkness and death, the space and items etc., which had been created for the enrichment of the symbolic meanings and the aesthetic significance of the poems.
In short, the social and cultural significance of various gender issues in line with the artistic techniques of the Third Generation Poetry had been scrutinized deeply in the chapters. / published_or_final_version / Chinese / Doctoral / Doctor of Philosophy
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Ligatures of time and space: 1920s New York as a construction site for modernist "American" narrative poetrySulak, Marcela Malek 28 August 2008 (has links)
Not available / text
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Cuba : poesía, género y revoluciónHedeen, Katherine Marie 06 July 2011 (has links)
Not available / text
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A study of Zhu Ziqing's (1898-1948) poetry and prose周業珍, Chau, Yip-chun, Rita. January 1994 (has links)
published_or_final_version / Chinese / Master / Master of Philosophy
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CENTRAL ISSUES IN CONTEMPORARY LATIN AMERICAN POETIC THEORYSegade, Gustavo Valentin, 1936- January 1972 (has links)
No description available.
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The role of the little magazine in the development of modernism and post-modernism in Canadian poetry /Norris, Ken January 1980 (has links)
Modernism and Post-Modernism in Canadian poetry have been introduced and developed in the pages of non-commercial "little magazines", beginning with F. R. Scott and A. J. M. Smith's McGill Fortnightly Review in 1925. Subsequent generations and schools of poets have made their first appearances and they have developed their ideas by producing their own magazines. / The aim of this dissertation is threefold: to investigate the phenomenon of the little magazine, its role as an essential alternative to commercial publications, and the sociological and aesthetic necessity for its survival; to investigate the progress that has taken place in Canadian poetry in the pages of the little magazine, as well as the evolution of the little magazine itself; in light of the fact that literary Modernism and Post-Modernism have not developed in Canada in isolation, to investigate the influence of European, English, and American poetic development in the twentieth century on Canadian poetry.
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An anthology of modern Arabic poetry, 1945-1984 : with a critical introductionAsfour, John. January 1984 (has links)
Note: Page 387 is missing from this electronic document because it is missing from the original archival version. / This study presents an Anthology of Modern Arabic Poetry from 1945 to 1984, selected and translated into English, containing poems by thirty-five poets who represent diverse regions of the Arab world. A critical introduction was designed to provide the Western reader with a brief overview of the literary, cultural, and political factors which have shaped the modernist movement in Arabic poetry of the past four decades. The “new poetry” is discussed in terms of form, the expansion of mythological interest which provided a common ground for the talents of the influential “Tammuzi poets,” and the relations between politics and poetry. Theories of Arabic poetic modernism have been examined with reference to modernist movements in the West which have both inspired and repelled Arabs in the search for a contemporary poetic form and idiom. / Cette etude presente une anthologie choisie de la poesie arabe moderne de 1945 a 1984, traduite en anglais, et regroupant des oeuvres de trente cinq poetes qui representent des regions diverses du monde arabe. Une introduction critique offrira au lecteur occidental un survol des facteurs litteraires, culturels et politiques qui ont fagonne Ie mouvement moderniste dans la poesie arabe des quatre dernieres decades. La "poesie nouvelle" est commentee en termes de forme, d' elaboration des interets mythologiques qui ont fourni un terrain commun aux influents poetes "Tammuzes," et de relations entre politique et poesie. Les theories du modernisme arabe en poesie sont etudiees en rapport avec les mouvements modernistes en Occident, mouvements qui ont a la fois inspire et repousse les Arabes qui cherchaient un langage et une forme poetiques contemporains.
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Unframing the novel : from Ondaatje to CarsonRae, Ian 11 1900 (has links)
This dissertation argues that, since at least the 1960s, there has been a distinguished tradition of
Canadian poets who have turned to the novel as a result of their dissatisfaction with the
limitations of the lyric and instead have built the lyric into a mode of narrative that contrasts
sharply with the descriptive conventions of plot-driven novels. Citing the affinity between the
lyric sequence and the visual series, the introduction maintains that the treatment of narrative as
a series of frames, as well as the self-conscious dismantling of these framing devices, is a topos
in Canadian literature. The term "(un)framing" expresses this double movement. The thesis
asserts that Michael Ondaatje, George Bowering, Joy Kogawa, Daphne Marlatt, and Anne
Carson (un)frame their novels according to formal precedents established in their long poems.
Chapter 2 illustrates the relation of the visual series to the song cycle in Ondaatje's long
poems the man with seven toes (1969) and The Collected Works of Billy the Kid (1970), as well
as his first novel Coming Through Slaughter (1976). Chapter 3 traces the development of the
"serial novel" from Bowering's early serial poems to his trilogy, Autobiology (1972), Curious
(1973) , and A Short Sad Book (1977). Chapter 4 argues that Joy Kogawa structures her novel
Ohasan (1981) on the concentric narrative model established in her long poem "Dear Euclid"
(1974) . Chapter 5 shows how Daphne Marlatt performs a series of variations on the quest
narrative that she finds in Hans Christian Andersen's The Snow Queen (1844), and thereby
develops a lesbian quest narrative in her long poem Frames of a Story (1968), her novella Zocalo
(1977), and her novel Ana Historic (1988). Chapter 6 explores the combination of lyric, essay,
and interview in Carson's long poem "Mimnermos: The Brainsex Paintings" (1995) and argues
that the long poem forms the basis of her novel in verse, Autobiography of Red (1998).
The final chapter assesses some of the strengths and limitations of lyrical fiction and
concludes that a thorough grasp of the contemporary long poem is essential to an understanding
of the development of the novel in Canada.
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An unexpected alliance: the Layton-Pacey correspondencePacey, John David Michael 05 1900 (has links)
This dissertation is a scholarly edition of the
correspondence between the Canadian poet Irving Layton and
the critic and historian of Canadian literature, Desmond
Pacey; on November 3, 1954, Desmond Pacey wrote to Contact
Press, inviting the poets Irving Layton, Louis Dudek and
Raymond Souster to submit their recent work for discussion
in an article on Canadian literature for The International
Year Book. Pacey and Layton met in Montreal a few months
later, and so began a long friendship and a lengthy
correspondence which continued until Pacey’s death on July
4, 1975. The correspondence is an extremely important
document in the history of Canadian poetry and criticism in
the decisive decades following World War II because it so
directly and extensively explores the crucial issues of the
times: the function of the poet and the critic in
contemporary society; the debate over a “cosmopolitan”
versus a “native” aesthetic; the debate over a “mythopoeic”
versus a “realist” approach to the creation of, and
criticism of, poetry; and the attempt to define a position
for the Jewish writer in a gentile society. But aside from
this prolonged and invaluable theoretical discourse, and
aside from the countless useful insights into the life and
work of practically every writer active in Canada between
1954-1975, the letters between the two men are important because the two men were so vitally important to the
development of a viable Canadian literature.
The basic principle of this project’s editorial
philosophy is the decision to abjure the “editorial
pedantries” of the diplomatic text which tend to exclude
the non—specialist educated public, and to assume greater
flexibility in the standardization and regularization of
spelling, punctuation, capitalization, abbreviation and
matters of format——placement of addresses, closings,
postscripts and marginalia. Headnotes contain all textual
information about the letter; transcriptions are in the main
literal, but in the interest of consistency some
standardization has been imposed. Footnotes follow each
letter; cross—references are by letter and, where
applicable, note number; when the reference is to a letter
with a single footnote, no number is cited. These almost
three thousand annotations are employed to identify
individuals referred to in the text, to provide publication
information on the works of Layton, Pacey, and numerous
other individuals referred to in the text, to document and
frequently quote from the reviews, articles, radio and
television programs they discuss, to elucidate references to
current events, and to provide miscellaneous but necessary
background information on matters ranging from the private
lives of the two correspondents to majcir vnts and isuë
in the history of Canadian li’áttñ.
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The relationship of poetry and ideology in Turkey : the influence of Ziya Gökalp on the poetry of the Beş Heceliler.Murray, Mary Catherine. January 1982 (has links)
No description available.
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