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The Poet's Corpus: Memory And Monumentality In Wilfred Owen's "The Show", Charles Hunter Joplin
The Poet's Corpus: Memory And Monumentality In Wilfred Owen's "The Show", Charles Hunter Joplin
Master's Theses
Wilfred Owen is widely recognized to be the greatest English “trench poet” of the First World War. His posthumously published war poems sculpt a nightmarish vision of trench warfare, one which enables Western audiences to consider the suffering of the English soldiers and the brutality of modern warfare nearly a century after the armistice. However, critical readings of Owen’s canonized corpus, including “The Show” (1917, 1918), only focus on their hellish imagery. I will add to these readings by demonstrating that “The Show” is primarily concerned with the limitations of lyric poetry, the monumentality of poetic composition, and the difficulties …
A Poetic Poioumenon: Coterie And Ekphrasis In David Lehman's "The Breeders' Cup", Anna Beth Rowe
A Poetic Poioumenon: Coterie And Ekphrasis In David Lehman's "The Breeders' Cup", Anna Beth Rowe
Master's Theses
David Lehman’s poem “The Breeders’ Cup” uses cross-generational coterie and ekphrasis to create a poetic poioumenon. When read in terms of art criticism, Lehman’s “The Breeders’ Cup” models creative processes from the past and calls for a rehabilitative ethic in postmodern poetics. Lehman follows the ekphrastic form, which associates a poem with a work of visual art, from his New York School predecessor Frank O’Hara. “The Breeders’ Cup” addresses Édouard Manet’s 1865 painting Olympia through ekphrasis, and the painting of a prostitute becomes a patron saint of parody for postmodern poetics. The poem introduces lust as a metaphor for creative …