Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed May 23, 2007). PDF text: 70 p. UMI publication number: AAT 3250371. Includes bibliographical references. Also available in paper, microfilm and microfiche formats.

Ganwyd yn ardal Ffair-rhos yn ystod yr ugeinfed ganrif bedwar o feirdd y gellid eu hystyried yn enghreifftiau nodweddiadol o draddodiad y bardd gwlad yng Nghymru ar ei orau. Daeth Dafydd Jones a W.J. Gruffydd yn brifeirdd cenedlaethol ac enillodd Evan Jenkins yntau lawryfon y Brifwyl. Er na bu i Jack Oliver gystadlu ar lefel genedlaethol, diau iddo ennill statws cenedlaethol fel prydydd poblogaidd, colofnydd papur newydd ac fel cymeriad lliwgar a gwreiddiol. Yn rhannu'r un agenda lenyddol ac yn cydoesi a hwy yn ardal Llangrannog, yr oedd brawdoliaeth farddol y daethpwyd i'w hadnabod yn ddiweddarach fel Bois y Cilie. Fel amaethwyr ymhyfrydai'r beirdd yn y cylch hwn yn y datblygiadau technolegol diweddaraf ym myd amaeth a hiraeth diddagrau, disentiment sydd ganddynt am y doe hamddenol a lliwgar a gollwyd. Ar y Haw arall, rhydd Beirdd Ffair-rhos bortread angerddol o dlodi eu pentref heddiw o'i gymharu a'i ffyniant diwydiannol a diwylliannol yn banner cyntaf yr ugeinfed ganrif. Yr oedd yn Ffair-rhos, adeg magwraeth y Beirdd, gymdeithas a goleddai safonau crefyddol ymneilltuol a safonau bucheddol pendant. Gellir dweud mai o blith y bobl feddwl-f laenllaw, asgwrn cefn y capel a'r diwylliant lleol, yr hanai Beirdd Ffair-rhos. Yn ogystal a'r beirdd gwlad, gellir sylwi i'r arlunwyr naif a'r arlunwyr gwlad yng Nghymru yn y ganrif ddiwethaf roddi mynegiant clodwiw i'r diwylliant Cymreig gwledig, yn arbennig yn eu portreadau o hoelion wyth y Methodistiaid a'r cymeriadau lleol a anfarwolwyd ganddynt ar gynfas. Cyflawnai rhai o'r arlunwyr hyn swyddogaeth debyg i un y bardd gwlad yn eu gwahanol ardaloedd, ac iddynt hwy 'roedd arlunio, fel barddoni, yn offrymu mawl i gymwynaswyr y ffydd ac i arwyr lleol. Swyddogaeth y canu mawl a marwnad yn y traddodiad llenyddol drwy'r canrifoedd fu delfrydu arwyr a diddori cynulleidfaoedd yn hytrach na beirniadu a cheryddu. Yn yr un modd/ rhoddi parhad i enw da' r gwrthrych oedd nod y beirdd a'r arlunwyr gwlad, a chyfetyb penillion y bardd gwlad i ddarlun yr arlunydd gwlad ar fur neu garreg goffa ym mur capel neu eglwys. Dylanwadwyd ar y beirdd gwlad, yn arbennig ar eu cerddi i fyd natur, gan y Mudiad Rhamantaidd. Ni chanfu'r mwyafrif ohonynt unrhyw brofiad cyfriniol ac ysbrydol yn y byd o'u cwmpas, ond yr oedd natur yn ffenomen weladwy iddynt. Ymatebai Beirdd Ffair-rhos i'w bro enedigol yn oddrychol ac yn deimladwy. Telynegol a hiraethus yw llawer o'r cerddi lie y dirmygir y presennol ar draul y gorffennol paradwysaidd. Nid oes yma chwerwder namyn galaru tawel ac wylo uwch adfeilion yr hen gymdeithas dduwiolfrydig. Ymwrthodir H realaeth heddiw a bodlonir ar ddarlun idyllic o'r pentref traddodiadol. Mae'r portreadu hwn yn wrthgyferbyniad llwyr i fformwla Caradoc Evans yn My People a Dylan Thomas yn Under Milk Wood, ac yn debycach i'r hyn a geir gan O.M. Edwards a D.J. Williams. Ffrwyth atgof dethol yw cynnyrch Beirdd Ffair-rhos. Bro wledig plentyndod fu Ffair-rhos i'w beirdd ac ymrithiodd yn rhyw Dir na n'Og o le, a ystyrid yn arwydd o'r gwerthoedd ysbrydol parhaol sydd yn drech na threigl amser. Disgrifir y pentref cyn iddo gael ei anrheithio gan chwyldro'r peiriant petrol a chyn iddo gael ei ddifwyno gan y pibellau a'r peilonau sydd heddiw'n cyfrodeddu'r lie. Pa faint bynnag o newidiadau a welir yn y dyfodol, erys Beirdd Ffair- rhos yn dyst i'r profiad dynol, crefyddol a chymdeithasol mewn bro neilltuol ar adeg arbennig yn ei hanes.

This study investigates the subgenre of the birthday poem within Breyten Breytenbach’s poetical oeuvre. Throughout the now half a century of his poetic production the writer has repeatedly written poems for himself on his birthday on 16 September of each new year (as well as a smaller number to his wife and close friends) The writing of birthday poems becomes a ritualist poetical act throughout the poet’s life and poetical oeuvre, one that has served many purposes over the years of Breytenbach’s increasingly nomadic existence. This study’s scope spans fifty years of poetical output, starting with the poet’s debut anthology, Die ysterkoei moet sweet (1964), including all the anthologies up to the publication of vyf-en-veertig skemeraandsange uit die eenbeendanser se werkruimte (2014). A small literary history is offered at the outset of the tradition of the birthday poem, based in classical Roman times (Argetsinger,K 1992) and following through to modern times. After describing the reasons for the sometimes challenging task of identifying birthday poems (unmarked by dates, having to rely on inference deduced from the content, and the like), the poems are analyzed with a particular focus on their nature and function within the larger context of the poet’s oeuvre. The research is organized according to the separate phases traceable in Breyten Breytenbach’s oeuvre (Van Vuuren 2011: 46–56), describing the steadily shifting themes and motifs of the subgenre throughout each of the four phases (pre-prison, prison, post-prison and late work phases). It was found that the birthday poems cohere as a subgenre within the oeuvre. Breytenbach’s birthday poems have a distinctive character and certain identifiable qualities (ritualistic characteristics such as reflection on the self within the present, reflection on time past, evaluating the situation and self on the particular birthday. Placed against the specific context in which the poet finds himself, with a poetical and autobiographical way forward implied in the given milieu and context, psychological insights are utilized where applicable, especially in the prison birthday poems and the late work birthday poems. A remarkable new insight gained through this study is the nature of he “reminiscence bump” (Janssen, Haque 2014) which older people experience, and is identified also in Breytenbach’s late work birthday poems. This adds to and refines the understanding of the nature of late work in Breytenbach’s poetical oeuvre. A final insight gained from the research is that description and comprehension of this smaller corpus of birthday poems (roughly thirty identified at present) may also be used as an entry into understanding of the nature of the poet’s large oeuvre (comprising twenty collections of poetry, containing around 1,600 poems between 1964 and 2014), as they represent each stage of development in Breyten Breytenbach’s oeuvre.

In this thesis I have attempted to show the differences in themes, attitudes, subjects, and poetic techniques that exist between two succeeding generations of modern French Canadian poets. Alain Grandbois and Anne Hebert (born in 1900 and 1916), respectively) constitute, in my study, the elder generation, while Gatien Lapointe , Fernand Ouellette, and Paul Chamberland (born in 1931, 1930, and 1939, respectively) are the more youthful poets. I have divided my thesis into chapters corresponding to the areas of comparison that were mentioned above and within every chapter I consider, as much as possible, each one of the five poets. I have found that, with regard to "subject," the older poets are especially concerned, in their poetry, with the "je" and its rare pleasures and its more frequent woes while the younger poets move away from this restricted concern with the "self" and its private and difficultly penetrated world towards a. wider involvement in the affairs of all men. Seeing and experiencing reality with the eyes and the sensibilities of all men, of whom they consider themselves to be the brothers, they speak less of "me" and more of "us" and "you." Their subject is no longer the private and highly personal "je" but is instead, the more universal and objective "we" or "them." Attitude evolves between the two generations as well. The classical despair and the defeatism of the elder writers stiffens into optimism and challenge among the more recent poets. The two themes considered, love and nature, are treated in dramatically varied fashion by the two sets of writers. Alain Grandbois and Anne Hebert see nature as antagonistic and menacing and love as either impossible or deceiving while Gatien Lapointe, Fernand Ouellette, and Paul Chamberland glory in the solace and comfort of a peaceful natural order and sing praises of the marvels and the promises of love and the loving and loved woman. Technical practices also change considerably from one generation to the next, ranging from the conservatism of the elder poets to the creative daring of the more recent poets. The poetic works examined in this thesis are Grandbois’ Les lies de la Nuit (1944), Rivages de l'Homme (1948), and L'Etoile Pourpre (1957), all of which are collected together in the compound edition Poèmes of 1963, Les Songes en Equilibre (1942), Le Tombeau des Rois (1953), and Poèmes (1960)* of Anne Hebert, Le Temps Premier (1962) , Ode au Saint-Laurent (1963), and Le Premier Mot (1967) of Gatien Lapointe, Ces Anges de Sang (1955), Séquences de l'Aile (1958), and Le Solell Sous la Mort (1965) of Fernand Ouellette and Paul Chamberland’s Terre Quebec (1964) and L'Afficheur Hurle (1964). I do not study Lapointe's Jour Malaisé (1953) nor his Otages de la Joie (1955) because in them the poet expresses with much less skill the same general ideas that he voices in his later volumes. Genèses (1962) of Paul Chamberland could not be examined because its predominately religious bent keeps it outside of the thematic area that I have restricted myself to. *Poemes contains a re-edition of Le Tombeau des Rois (1953) as well as the most recent collection of Anne Hebert’s poetry, Mystère de la Parole (1960). / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

No description available.

Thesis (M. A.) --University of Limpopo, 2014 / The main aim of this study is to analyse in detail different poems from different authors which reveal the way in which death comes to people and also explains how difficult it is, if someone has lost his/her lover. The first chapter reveals the general outline of the study, the problem statement, the aim, its significance and methodology. The most important terms of the study have been explained to be analysed. Chapter 2 explains defines and analysed the selected poems of different authors that reveal the ways in which death comes to living people. Chapter 3 deals with the general summary of this mini-dissertation. The recommendations for further research have been indicated in this chapter. Chapter 4 indicates a list of books which have been used in this mini-dissertation.

"A knowledge of bibliography and facility in the use of bibliographic tools is of great importance to librarians. For this reason this writer selected as her Master's paper a project that would further this knowledge and this facility: a brief biography of Thomas Merton, whose writings have brought much satisfaction to this writer, and a complete bibliography of his works that have appeared as trade books to the present time. Such presentation of an author and his works has been defined by William Howard Huff as a bio-bibliography. Excluded from this study are the works which have appeared in collections by other authors which, in most cases, are incorporated in one of Merton's books"--Introduction. / Carbon copy of typescript. / "August, 1956." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Includes bibliographical references.

No description available.

<p> This essay explores a neglected aspect of Great War literature, the verse written by women. The essay suggests possible reasons for the long neglect of the poetry written by women and points to the work yet to be done in the area,in addition to making some initial critical comment on the poetry. Before discussing the poems which women wrote about the Great War experience it was necessary to find them and for that reason this work is divided into two parts: the poems which form the appendix and, in an Introduction and two chapters, the first critical appraisal of this material. </p> <p> The poems, which were found tn popular and literary journals, in collected works and anthologies, are gathered here and presented for consideration for the first time. The twenty-nine poems in the appendix were chosen from among thousands available, a quantity which clearly provided a wide range of quality. My first consideration in choosing the poems was to choose those in which the poet matched the content and the treatment of the content. discarded the clearly sentimental and the trite and looked for poetic attempts to come to terms with basic emotions and experiences. Some of the poems of lesser quality or poems with a few good effects or ideas have been included in the critical commentary. Other poems have been included in the body of the essay to illustrate themes or attitudes. </p> <p> One of the problems for an anthologist is to decide on the categories for arranging poems. War anthologies are sometimes printed alphabetically by author and more often by placing poems with similar attitudes together. I decided to use the latter method. When the poems had been selected and arranged so that those which were similar in content were together it became clear that chronology is also important. As the war continues the poetry changes. The earliest poems, particularly those printed in the United States, express anger and seek causes for war. The later poems express despair and disillusionment. Thus the essay not only discusses common themes and symbols used by the poets to describe their experience of the Great War it also shows the development of attitudes to the war as expressed in poetry. </p> / Thesis / Master of Arts (MA)