Thesis (M.A.)--Ohio University, August, 2008. / Title from PDF t.p. Release of full electronic text on OhioLINK has been delayed until June 1, 2013. Includes bibliographical references (p. 18)

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 97-98). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 97-98). Also available on the Internet.

This thesis analyzes the issue of performing self in the genres of oral poetry and weeping, which are performed by Dersimli women in the course of their everyday life practices. This study focuses on the case of Dersim (Tunceli) which is located in the east part of Turkey where Zazaki-speaking and Kurdish-speaking Alevi people constitute the majority of the population. I deal with these performances as repetitive actions, occurring in the course of everyday life. I focus on the narratives in the songs and issues related to giving voice with respect to acceptability, respectability, and experience. The personal narratives or social issues presented with these genres include a range of topics like dissatisfaction about life, a deceased child, loneliness, poverty, forced migration from the villages in the mid 1990s, regret of a woman for her marriage and old love stories. I found that performing those genres as repetitive actions in the course of everyday life practices has an important role both in the construction and the positioning of self. This study deals with songs as processes rather than products. Finally, in these processes, performers express their experiences, emotions, and ideas which are not narrated or spoken, or have limited expression, in the social interaction of everyday life. Although weeping practices usually reproduce expected gender roles however, the saying/singing practices as a whole may create the possibility of agency and certain spaces for resistance and contribute to the visibility of women in the community.

Thesis (M. A.(African Languages)) -- University of Limpopo, 2021 / This study focused on identifying and analyzing the perceptions of Sepedi poets on women. This qualitative, descriptive research was conducted to determine if there were any discrepancies between role perceptions and role expectations. Data was collected from texts (poetry books) in the form of poems that poems which portrays negative perceptions of poets on women. Poems were selected randomly and analyzed to expose their perceptions on women. The study has exposed the prejudices that were unfairly inflicted upon women through poetry. The findings revealed that there is a need to rehabilitate authors, poets in particular to write positive about women, perceive women as capable and gifted beings. If this social ill is left unattended, it may result in confusion and role conflict among members of the society, which can ultimately transgress the attainment of credible and aesthetic element of literary work.

This creative thesis is a collection of original poems entitled Other. The poems in Other reflect my study of the aesthetics of poetry as well as that of how women are represented as poets and as the subject of poems. Some of these poems are the product of my particular interest in the use of persona. Most reflect my desire to achieve self-reflection, to write from my experiences and perception, while still maintaining the universality that is an essential element of successful poems. The critical introduction situates my poems within the framework of the poetic mode Personal Classicism—poetry that is emotionally based but relies on formal techniques and controlled elements in order to maintain distance. My primary goal in the critical introduction is to link my poems to the Personal Classicist lineage, which includes H.D., Elizabeth Bishop, and Louise Gluck – to whom I will pay particular attention.

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