Thesis--University of Wisconsin--Madison. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 303-319).

Diss.--Saarbrücken--Universität, 1991.

Thesis (Ph. D.--Music)--University of California, San Diego. / Vita. Includes scores for most of the instrumental works within the composer's The Sexton cycle; excludes opening work, What's that, and the purely tape Redcuts. Accompanying tape includes recordings of the sections, Hutch, The red shoes, Redcuts, and Demon (extract) from Consorting with angels.

By using rigorous conventional structure in her early work Anne Sexton was able to successfully contain some of her severe psychological instabilities stemming from childhood in poetic form. Sexton's artistic direction underwent a sharp change midway into her poetic career after she wrote the volume Transformations, a collection of story-poems based on narratives from the Grimm fairy tales. In this collection, Sexton took on the external persona of a witch, and with her new voice, she was boldly able to re-tell her version of the Grimm tales. The new persona enabled Sexton to shed her previous voice of passivity, and instead criticize humanity by using satire and humor. Unfortunately, this movement in her work was an exercise in self-exploitation as the larger, cultural arena of Grimm put off any chance of working out her private problems. After Transformations Sexton had come to the realization of her self-exploitation and decided to even further separate herself from humanity by continuing to work with even more generalized, cultural forms--a movement that ultimately led her to mythologize her own death.

No description available.

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Thesis (MA)--Montana State University--Bozeman, 2008. / Typescript. Chairperson, Graduate Committee: Linda Karell. Includes bibliographical references (leaves 98-104).

No description available.

Persuasion in poetry, according to Marianne Moore, is the result of three attributes, humility, concentration, and gusto, and when a poet is aware of these attributes and incorporates each one into his / her poetry, the poem is more likely to be meaningful. In fact, Moore’s theory stands as a meaningful test to any poet regardless of aesthetic preference. Therefore, in order to argue that the combination of these three concepts work together to produce persuasive poetry, I will show how all three of Moore’s tenets—humility, concentration, and gusto—are present in the poetry of Elizabeth Bishop as well as in the most emotionally convincing poems of confessional poet Anne Sexton and associative free verse poet Mary Ruefle. In addition, I will discuss how Moore’s aesthetics apply to my own work.

The poems in this thesis address ideas of transition and movement, and are preceded by a critical introduction on two collections of poetry that also address some of these concepts. The poetry in Maggie Smith’s The Well Speaks of Its Own Poison and in Anne Sexton’s Transformations make old tales worth reading again, by taking the structured narratives of these familiar stories and making them darker, more thrilling, and more personal. Smith and Sexton use fairy tale tropes in their collections as a way to identify and cope with some of the more difficult human problems we would rather avoid, such as death, family, and self-harm. I explore how these collections use the darker sides and lesser characters of these familiar stories—elements that are often overlooked in contemporary versions of legends, myths, and fairy tales—to illustrate these difficult human problems in their various poems.