Akademisk avhandling--Litteraturvetenskap--Uppsala, 1989. / Bibliogr. p. 160-194. Index.

Texte remanié de: Thesis Ph. D.--Indiana, Pa.--University of Pennsylvania. / Bibliogr. p. 155-162. Index.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1957. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [369]-379).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--Rutgers University, 2007. / "Graduate Program in Literatures in English." Includes bibliographical references (p. 209-215).

Thesis (Ph. D.)--University of Washington, 1987. / Vita. Bibliography: leaves [299]-310.

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This dissertation argues that the midcentury period from 1945-1967 offers a distinct historical framework in American poetry that bears further study. This position counters most other literary history of this period wherein midcentury poets are divided into schools or coteries based on literary friendships and movements: the San Francisco Beats, the New York School, the Black Mountain poets, the Confessionals, the Black Arts poets, the Deep Image poets, and the New Critics, to invoke only the most prominent designations. Critics also typically share a reluctance to cross gender or racial lines in their conceptualizations of the period. Of the few books that survey this period as a whole, most propose the defining features of midcentury poetry as formal innovation (or lack thereof) and a renunciation of the past. By contrast, I argue that such divisions and limiting categories do not attend to some of the most important features of midcentury poetry. I suggest that midcentury poetry most often demonstrates a renewed interest in locating a particular identity in a specific place. To illustrate this point, I explore depictions of identity and place in the works of three poets who are rarely studied together, Gwendolyn Brooks, Theodore Roethke, and Elizabeth Bishop. Each chapter examines the changes in poets' careers by focusing on how the relationship between place and identity differs in their early and late work. I contend that the few generalizations we have about the trajectory of this period (that poets moved from using more traditional forms to more open forms, for example) are not entirely accurate and, even more, that the accounts that we have of the poets' individual careers could be enhanced by a comparison between their early and late depictions of identity and place. I argue that the concerted exploration of the intersection of place and identity calls for a reconsideration of midcentury poetry: not just the categories we have but the poets and poems we read.

Magister Artium - MA / A wide range of scholarly inquiries have engaged with how museums all over the world deal with societal issues and the way the public interacts with the museum as a space of transaction and knowledge production. In Malawi, only a small proportion of literature deals with the museums and their relationship to the wider understanding of the country's history and the question of nationalism. However, as modern museums are transforming and reconfiguring themselves in dealing with histories of collection and calls for repatriation of ethnographic objects and human remains from their European counterparts are being made, there is no scholarly work or a nuanced representation on these issues for the Museums of Malawi. This study engages with a biography of a collection to think about museums, nationalism and the politics of repatriation. This biography begins when this collection of objects was collected from the tea plantations of Malawi and how it metamorphosizes from souvenirs to artifacts of rarity and then to "national treasures." The life of the collection is analysed and understood through its multiple journeys from Malawi to Europe and then to the United States of America where it attains a new meaning in a museum before its return to Malawi for a nationalist cause. / Centre for Humanities Research (CHR), University of the Western Cape