Inaug.-Diss.--Freie Universität, Berlin. / Vita. Bibliography: p. 5-13.

Thesis--Westfälische Wilhelms-Universität, Münster. / Vita.

No description available.

No description available.

This dissertation analyzes the function of animal speakers in political poetry by William Langland, Geoffrey Chaucer, and John Gower, and it claims that late fourteenth-century poets describe the marginalized voices of emerging politicians by using animal expressions and noises. These writers invent a playful yet earnest poetics of acknowledgment in comparing politicians’ calls to animal cries. In unveiling novel interpretations of Langland’s mouse, Chaucer’s goose, and Gower’s jay, I argue that the speeches of animals contribute to significant argumentative strains within several late fourteenth-century poems, which remain obscure if the reader ignores the signal contribution of the animal. Finally, I study the use of animal speech in the Lancastrian poem, Richard the Redeless, to understand the ways in which the anti-Ricardian regime appropriated this malleable animal imagery to pursue its own political agenda.

This study focuses on the works of three authors whose first poetry books appeared in the 1970s, in the context of the dictatorial and authoritarian regimes that began seizing power in Latin America in the 1960s and '70s. At a juncture in which both traditional leftist discourse and the programs of earlier avant-gardes had begun to seem inadequate, younger poets sought to articulate, in the realm of the symbolic, coherent responses to increasingly oppressive and polarized political environments. The works in question are the following: Brazilian Waly Salomão's "Me segura qu'eu vou dar um troço" (Rio de Janeiro, 1972); Juan Luis Martínez's "La nueva novela" (Santiago, Chile, 1977); and, by Mexican conceptual artist Ulises Carrión, the unpublished "Poesías," from 1973, as well as a selection of his poetry-based artists books. These are hyper-referential, process-oriented, polyphonic works. They are not only politically motivated, but, given their understanding of the entwinement of politics and genre, are also decidedly against the ideology bolstering the lettered tradition, lyrical poetry, and self-expressive tendencies. At the core of their critique is a rejection of an economy of meaning in which the author's function, as Foucault puts it, equals "the principle of thrift in the proliferation of meaning." First and foremost, in their goal to burst open the meaning-making process, Salomão, Martínez, and Carrión disembody the utterance and question notions of literary value that set apart literary language from common speech. Relying heavily on appropriation and framing devices, they each posit an alternate model of authorship in which writing and reading are inextricable and, consequently, the work is co-created by the reader. Key among their strategies is that of acousmatics--here understood as the concealment of the source of the utterances in the text--in order to, primarily, create conditions of reception in which the reader can interact with the material on the page directly, without its being mediated by the poem's subject. Salomão, Martínez, and Carrión each achieve the uttering subject's removal from the text through different procedures that are contrasted in the dissertation. Emulating the cacophony of popular culture, Salomão performatively adopts multiple subjectivities in his works, saturating them to the point that no unitary subject can be said to be manifest in them. Martínez, on the other hand, mirrors the cacophony of printed matter. Besides failing to attribute the copious materials he samples in the wide-ranging word/image works comprising "La nueva novela," in presenting them he adopts the depersonalized institutional tone of textbooks, photographic captions, and paratextual materials such as footnotes, editor's notes, and bibliographical annotations. In Carrión's works the subject seems to have vacated the poem entirely, as author function is reduced to misreading canonical materials and performing interventions and erasures on them. Resulting from Carrión's operations are open structures that serve as models for post-literary ways to engage with texts. The way these authors assembled and put their books in circulation is also examined, since "Me segura qu'eu vou dar um troço," "La nueva novela," and Carrión's artist books are the result of a thorough rethinking of the politics of the book, the lettered tradition's keystone institution.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1974. / Typescript. Vita. Includes bibliographical references.

La recherche vise à identifier les étapes critiques de la poésie lyrique de la Renaissance qui ont rendu les vers de Pétrarque un modèle consolidé de rhétorique civile et politique dans la tradition littéraire italienne. L'objet de l'analyse est la poésie du XVIe siècle. En analysant les recueils et anthologies de l'époque, caractérisées surtout par la prédominance du lyrisme d’amour, cette recherche vise à définir les traits d'un pétrarquisme moins connu et répandu dans les études: le pétrarquisme politique. / The research aims to identify the critical steps of the Renaissance’s lyric poetry which made Petrarch a consolidated model of civil and political rhetoricin the Italian literary tradition. The purpose of the analysis is the poetry of the sixteenth century, which was characterized by a homogeneous formal model theory. By analysing the collections of the time, characterized mainly by the predominance of love lyricism, I aim to define the features of a less known and less described Petrarchism, that is political Petrarchism.

This thesis is an examination of the poetry of Edwin Morgan. It is a cultural analysis of Morgan's poetry as representation of the Scottish people. Morgan's poetry represents the Scottish people as determined and persistent in dealing with life's adversities while maintaining hope in a better future.

No description available.