DOCSLIB.ORG

Poetry Newsletter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Poetry Newsletter LITERARY ANGELS ’ poetry newsletter What are Haiku Poetry, Sonnet, Traditional Cinquain, Modern Cinquain, What are Haiku Poetry, Sonnet, Traditional Cinquain, Modern Cinquain, and Villanelle? What other styles are there? Jamie ~ Ca and Villanelle? What other styles are there? Jamie ~ Ca Haiku poetry originates from Japan. It consists of three lines: First line Haiku poetry originates from Japan. It consists of three lines: First line ?— fi ve syllables, second line — seven syllables, third line — fi ve syllables. — fi ve syllables, second line — seven syllables, third line — fi ve syllables. A haiku traditionally contains a season word that represents the season ? A haiku traditionally contains a season word that represents the season in which the poem is set, or a reference to the natural world. Sonnet in which the poem is set, or a reference to the natural world. Sonnet derives from the Italian word “Sonetto” meaning “little song”. It consists derives from the Italian word “Sonetto” meaning “little song”. It consists of fourteen lines. There are various rhyme patterns, which vary in the of fourteen lines. There are various rhyme patterns, which vary in the sonnet forms and the modern sonnets are more fl exible. Traditional sonnet forms and the modern sonnets are more fl exible. Traditional Cinquain: Forms can be in the style of English quintets, individual Cinquain: Forms can be in the style of English quintets, individual French the American cinquain image form. Cinqku is a fi xed-form fi ve- French the American cinquain image form. Cinqku is a fi xed-form fi ve- line tanka or cin-quain image poem with no title, 17 syllables, with a line tanka or cin-quain image poem with no title, 17 syllables, with a surprise or turn in line 4 or 5. Modern Cinquain: The tanka in its modern surprise or turn in line 4 or 5. Modern Cinquain: The tanka in its modern English form is the basis of each of the quintain image forms. Villanelle: English form is the basis of each of the quintain image forms. Villanelle: A villanelle has only two rhyme sounds. The fi rst and the third lines of A villanelle has only two rhyme sounds. The fi rst and the third lines of each stanza consist of rhyme refrains that alternate as the third line in each stanza consist of rhyme refrains that alternate as the third line in each stanza form a couplet in conclusion. A villanelle each stanza form a couplet in conclusion. A villanelle is nineteen lines long, consisting of fi ve tercets and is nineteen lines long, consisting of fi ve tercets and one concluding quatrain. A quatrain is a poem or a GOT A QUESTION? one concluding quatrain. A quatrain is a poem or a stanza within a poem that always is four lines. Rhyme GOT A QUESTION? patterns: aabb, abab, abba, abcb. There are various stanza within a poem that always is four lines. Rhyme Email me, Delphinus at news- patterns: aabb, abab, abba, abcb. There are various & other forms; the most infamous forms are „ode, Email me, Delphinus at news- [email protected]. elegy, ballad, Pantoum (similar to villanelle) Acrostic, & other forms; the most infamous forms are „ode, QI look forward to answering [email protected]. elegy, ballad, Pantoum (similar to villanelle) Acrostic, Free Verse, narrative poem, sestina. QI look forward to answering your exciting questions. Free Verse, narrative poem, sestina. your exciting questions. How do you distinguish different styles of How does one get better at reading/writing poetry? Can you please poetry? provide some resource recommendations? How do you distinguish different styles of How does one get better at reading/writing poetry? Can you please Adam ~ Delaware Sarah ~ Hampton, Va. Fall poetry? provide some resource recommendations? Adam ~ Delaware Sarah ~ Hampton, Va. Fall My advice would be to pick a poem model and The key to improving at poetry or any other form of writing is reading. ’08 ?then look at various other poems and see how? Once you start reading, the missing pieces ought to fall into place. For My advice would be to pick a poem model and The key to improving at poetry or any other form of writing is reading. ’08 they differ from the poem you have chosen. ?then look at various other poems and see how? Once you start reading, the missing pieces ought to fall into place. For both poetry and prose, reading is essential. It will aid you in discovering Style means method of approach to the poem. your voice and style, as well as supply you with suggestions for ideas. they differ from the poem you have chosen. both poetry and prose, reading is essential. It will aid you in discovering Poems vary through the form and character- Some writers fi nd it handy to keep a journal and carry it around with Style means method of approach to the poem. your voice and style, as well as supply you with suggestions for ideas. istics that shine through the language such them. Writing magazines generally have exercises to fi re up your Poems vary through the form and character- Some writers fi nd it handy to keep a journal and carry it around with as the semantic fi elds and the word choice. A thoughts, if you often experience writers’s block. istics that shine through the language such them. Writing magazines generally have exercises to fi re up your stylistic de-vice is the use of any of a variety as the semantic fi elds and the word choice. A thoughts, if you often experience writers’s block. of techniques to give an auxiliary meaning, Recommendations of Journal Websites stylistic de-vice is the use of any of a variety www.fi rstwriter.com Recommendations of Journal Websites idea, or feeling to the literal or written, usually Poetry Contest Winners Announced! of techniques to give an auxiliary meaning, revealed through modal auxiliary verbs. If you www.inkwelljournal.org www.fi rstwriter.com idea, or feeling to the literal or written, usually Poetry Contest Winners Announced! are analyzing the poem and trying to fi nd an Recommendations on Articles Mark These Dates revealed through modal auxiliary verbs. If you www.inkwelljournal.org www.writermag.com/wrt 2 insight to the meaning, then I would advise Poet Spotlight: Robert Browning are analyzing the poem and trying to fi nd an Recommendations on Articles Mark These Dates you to take it one-step at a time. Read the www.vqronline.org insight to the meaning, then I would advise www.writermag.com/wrt 2 Rhyme For A Cause Poet Spotlight: Robert Browning poem fi rst to obtain the poem’s essence — Other Recommendations you to take it one-step at a time. Read the www.vqronline.org the general gist of the meaning. Take notes. www.poetryclub.com 5 poem fi rst to obtain the poem’s essence — Other Recommendations Rhyme For A Cause www.teenagewriters.com Newsletter Angels’ Literary The Reconstructing a Haiku Reread it again, noting anything you notice the general gist of the meaning. Take notes. www.poetryclub.com 5 www.eliteskills.com The True Power of Poetry Newsletter Angels’ Literary The second time around and compare the notes. 6 Reread it again, noting anything you notice www.teenagewriters.com Reconstructing a Haiku You might discover that after each reading, second time around and compare the notes. www.eliteskills.com The True Power of Poetry your interpretation of the poem will change. Hope this helps! 6 You might discover that after each reading, your interpretation of the poem will change. Hope this helps! 4 4 Course: Project: Outcome: Print Publication and Design Designed a 4 pg, full colour, 11x17 Both professors, who were also newsletter fot the Literary Angels’ professional graphic designers, thought Completed: Poetry Association., using Indesign it was creative and edgy. They award- Fall 2008 and Photoshop. ed me an A for this project. NEWSLETTERS : COURSEWORK LITERARY ANGELS ’ poetry newsletter 2 3 inners’ ircle CONGRATS TO ALL OUR THREE WINNERS, WHO WILL an oes ome RECEIVE A GIFT CERTIFICATE TO CHAPTERS BOOKSTORE FEATURED SHORT STORY $500 y ennis icks Untitled Don’t Let Me Drift Away afraid to try A m hD H Another typicalW Don’t Let Me Drift Away you give it all you have to give, g B moment The moon shadow grows a little but life comes right at you ‘til it’s easier to die Firestorm peeled deeper on this night; than spend your strength in trying to live. AS THE HOMELESS MAN approached the train tracks he was careful to look both ways for away a shade lies right across the door. We teeter on the razors edge and the railroad detectives, as he knew that they would want to run him out of the yard. It was a fairly summon up our strength Ashy layer upon layer The subtle sounds of emptiness warm afternoon, and as he noticed the coast was clear, he forced himself to hurry along the COf infantile words that belabouring the light, to face another wary day. Write cinders and ties to the boxcar that he had spotted with an open door. Maybe, he thought to No one seemed to be not certain we can take much more. The prospects seem so vacuous; feeling So now we’re fighting desperately to we join our hands at length, himself, this was the one. This was the train that would carry his tired and fragile body back As the procession of quench the urge to fly, our eyes say, “Don’t let me drift away.” home, back North to Illinois.
Load more

Recommended publications
  • Literary Terms Definition Example Example from Class Poetry Alliteration: a Number of Words, Having a Big Bully Beats a Baby Boy
    Name: ______________________________________ Poetry Unit: Literary Terms Definition Example Example from Class Poetry Alliteration: a number of words, having A big bully beats a baby boy. the same first consonant sound, occur close together in a series Assonance: takes place when two or Men sell wedding bells. more words, close to one another repeat the same vowel sound, but start with different consonant sounds. Blank Verse: un-rhyming verse written in The dreams are clues that tell iambic pentameter. In poetry and prose, it has a consistent meter with 10 syllables in us take chances. each line (pentameter); where, unstressed syllables are followed by stressed ones, five of which are stressed but do not rhyme. Consonance: repetitive sounds Behind Me -- dips Eternity -- produced by consonants Before Me -- Immortality -- Myself -- the Term between -- within a sentence or phrase Death but the Drift of Eastern Gray, Dissolving into Dawn away, Before the West begin -- Couplet: having two successive rhyming “The time is out of joint, O cursed spite lines in a verse, and has the same meter to That ever I was born to set it right!” form a complete thought. Foot: combination of stressed and Example of Iambic Pentameter: Iamb: unstressed syllables. there are various Combination of unstressed and stressed types of foot, each of which sounds syllable – (daDUM) differently Free Verse: poems have no regular meter or rhythm. They do not follow a proper After the Sea-Ship by Walt Whitman rhyme scheme; these poems do not have After the Sea-Ship—after the whistling any set rules. winds; After the white-gray sails, taut to their spars and ropes, Below, a myriad, myriad waves, hastening, lifting up their necks, Tending in ceaseless flow toward the track of the ship.
    [Show full text]
  • Download (15MB)
    https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] VERSE FORM IN ENGLISH RENAISSANCE POETRY: A CATALOGUE OF STANZA PATTERNS BY MUNZER ADEL ABSI THESIS SUBMITTED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH LITERATURE FACULTY OF ARTS UNIVERSITY OF GLASGOW 1992 ABSI, M.A. ProQuest Number: 10992066 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10992066 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC.
    [Show full text]
  • Book Reviews MSR XVI (2012)
    Book Reviews Katia Cytryn-Silverman, The Road Inns (Khāns) in Bilād al-Shām. Book Reviews (Olivia Remie Constable) Kati a Cyt ryn-Silver man, The Road Inns (Khāns) in Bilād al-Shām. British Ar- chaeological Reports, International Series, 2130 (Oxford: Archaeopress, 2010). Pp. vi, 290. Reviewed by Ol ivia Remie Const abl e, University of Notre Dame This new study of rural khāns in Mamluk Syria provides a very useful compila- tion of material on these road inns. The author brings new data to our knowl- edge of the buildings’ patronage, architecture, and historical details, although the book does not add significantly to our overall understanding of these institutions. The most important new contributions made by Katia Cytryn-Silverman are laid out in Chapter 5 (pp. 83–159), a “Gazetteer” surveying twenty-three rural khāns and presenting data collected by the author during five years of field research, fol- lowed by one hundred pages of plates and figures (pp. 179–280) containing maps, plans, and photographs of these buildings, both in black and white and in color. The volume is laid out in five chapters, starting with a short introduction (Chap- ter 1) and ending with the Gazetteer (Chapter 5), followed by a brief conclusion, a bibliography, and the extensive collection of images. The emphasis throughout is on Mamluk buildings, although the author includes a considerable amount of comparative evidence of Ayyubid, Saljuq, Ottoman, and Iranian khāns and other similar courtyard buildings and hostelries. In Chapter 2, Cytryn-Silverman tackles the vexing question of terminology; she seeks to pin down the exact meaning of khān, and describes the chapter’s aim as “to avoid taking misinterpreted structures into consideration by establishing clear parameters before commencing the proper sorting” (p.
    [Show full text]
  • Simon F. Davies
    Literary Terms: A Guide 1. Metre 4. Figurative, rhetorical & structural devices 2. Stanzas 5. Further reading 3. Rhyme Metre Metre refers to the rhythmic structure of lines of verse. The majority of English verse since Chaucer is in accentual-syllabic metre, which consists of alternating stressed and unstressed syllables within a fixed total number of syllables in each line. The metrical rhythm is thus the pattern of stressed and unstressed syllables in each line. Groups of syllables are known as metrical feet; each line of verse is made up of a set number of feet. Thus: Monometer: one foot per line Pentameter: five feet per line Dimeter: two feet per line Hexameter: six feet per line Trimeter: three feet per line Heptameter: seven feet per line Tetrameter: four feet per line Octameter: eight feet per line Each foot usually consists of a single stressed syllable – though there are some important variations – therefore these patterns correspond to the number of stressed syllables in a line; thus tetrameter has four, pentameter five, etc. There are two types of metrical feet in English accentual-syllabic metre: duple metre, consisting of disyllabic (2-syllable) feet, in which stressed syllables (x) and unstressed syllables (o) alternate in pairs; and triple metre, consisting of trisyllabic (3-syllable) feet, in which single stressed syllables are grouped with a pair of unstressed syllables. Duple metre is the metre most commonly found in English verse. The following metrical feet make up the most common rhythmical patterns: Duple metre: Triple metre: Iamb (iambic foot): o x Dactyl (dactylic foot): x o o Trochee (trochaic foot): x o Anapaest (anapaestic foot): o o x Spondee (spondaic foot): x x Amphibrach: o x o Pyrrhus / dibrach (pyrrhic foot): o o Molossus: x x x Note that the spondee, pyrrhus and molossus do not usually form the basis for whole lines of verse, but are considered forms of substitution: that is, when a foot required by the metrical pattern being used is replaced by a different sort of foot.
    [Show full text]
  • The Russian Quintain
    The Russian Quintain Barry P. Scherr Dartmouth College [email protected] Abstract Although just one line longer than the quatrain, which is the predominant stanza length in Russian verse, the quintain occurs far less often, as a rule accounting for no more than several percent of a poet’s oeuvre. After sug- gesting that the unavoidable asymmetry of this relatively brief stanza form may help account for its infrequent use, I examine a corpus of 300 poems in 5-line stanzas written since the early 19th century. The analysis reveals the relative frequency of the possible rhyme schemes and shows how this form has evolved from the 19th century through the Modernist era and into more recent times. Topics explored include the types of heterostanzaic poems and linked stanzas that have appeared, the metrical affinities of the 5-line stanza, and its stanza rhythm (the frequency of stressing in each line) as compared to that of quatrains. While the rhyme schemes and types of heterostanzaic poems have generally become more varied over the years, the quintain’s limited range of meters and its main stanza rhythms ultimately suggest that poets still tend to fall back on certain familiar formal templates when employing this less common stanza. 1 Introduction The predominant stanza form for Russian verse, as for many poetic traditions, has been the quatrain. In contrast, the quintain, or 5-line stanza, has consistently occu- pied a relatively modest position. An analysis of more than 3100 stanzaic poems writ- ten between 1735 and 1816 shows that fewer than 3% of these were composed in quintains (Smith 1977: 188).
    [Show full text]
  • Download Download
    Studia Metrica et Poetica 7.1, 2020, 116–137 Quantitative Approaches to Versification: Conference report (June 24–26, 2019, Prague, Czech Republic) Igor Pilshchikov, Vera Polilova* The Quantitative Approaches to Versification conference met on June 24–26, 2019 in Prague. The conference, which continued the tradition of the regular Slavic Verse (Slavjanskij stikh) and Comparative Slavic Metrics (Słowiańska metryka porównawcza) conferences dating back to the 1960s, was dedicated to Květa Sgallová in recognition of her 90th birthday. Sgallová, one of the most prominent Czech experts in versification, honored the conference with her presence. The conference was jointly organized by the Institute of Czech Literature (Czech Academy of Sciences) and the Institute of Russian Language (Russian Academy of Sciences) and gathered a group of international scholars who share an interest in the formal quantitative analysis of all aspects of ver- sification. The Prague meeting featured more than twenty presentations, all in English. The program is available at http://versologie.cz/conference2019/. The main topics of the conference included a broad range of issues uni- fied by an umbrella concept of quantitative approaches to the study of verse: new approaches to comparative metrics, descriptions of ancient, medieval and modern European syllabic, accentual and accentual-syllabic meters, an analysis of texts with an unknown metrical status, an automated processing of versified texts, the use of corpora-based methods in verse studies, a statistical analysis of verse rhythm and specific rhythmic varieties of meters, as well as analyses of various measurable aspects of poetic texts, such as semantic patterns and lexical diversity, or the relationship between syntax and rhythm in verse.
    [Show full text]
  • Outline of Poetry February 4, 2012
    Outline of Poetry February 4, 2012 Contents ARTS>Literature>Poetry ................................................................................................................................................... 1 ARTS>Literature>Poetry>Prosody ............................................................................................................................... 1 ARTS>Literature>Poetry>Rhyme ................................................................................................................................ 2 ARTS>Literature>Poetry>Rhythm ............................................................................................................................... 3 ARTS>Literature>Poetry>Rhythm>Feet ................................................................................................................. 4 ARTS>Literature>Poetry>Kinds .................................................................................................................................. 4 ARTS>Literature>Poetry>Kinds>Church ................................................................................................................ 5 ARTS>Literature>Poetry>Kinds>Epic Poem .......................................................................................................... 5 ARTS>Literature>Poetry>Kinds>French ................................................................................................................ 6 ARTS>Literature>Poetry>Kinds>Funeral ..............................................................................................................
    [Show full text]
  • Literary Terms
    LITERARY TERMS Level: Term and Definition: 20/30 Allegory - A literary mode or work in which figures, events, settings, etc. represent abstractions, or, in which the characters and events correspond closely to actual persons and happenings. Example: Animal Farm by George Orwell 10 Alliteration – The repetition of sound, usually the initial sound and most often a consonant, in words of one line or successive lines of verse. Example: “…Bend/ Your force to break, blow, burn, and make me new.” 10 Allusion – Indirect reference to an event, person, thing, place, or quality. An allusion may serve, by suggestion, to extend the significance of a poetic image or prose passage. Example: “He has the patience of Job.” Job is an Old Testament character who endured every form of loss and rejection and illness with infinite patience because he knew that God was testing him. 20/30 Ambiguity – The use of a word, phrase, sentence, or passage with two or more separate, often contradictory, meanings in such a way that the sense of the statement remains in doubt. 20/30 Anachronism – Something, as an occurrence, that is out of its time. In Julius Caesar the clock strikes, yet such a timepiece had not yet been invented at that time. 10 Analogy – Likeness; resemblance in some particulars between things otherwise unlike. An analogy explains something unfamiliar by comparing it to something that is familiar. 10 Anecdote – A short account of entertaining historical or personal fact. 10 Antagonist – the character or force that opposes the protagonist in any story. The antagonist attempts to prevent the protagonist from achieving his or her goal.
    [Show full text]
  • Poetry, Form and Experience Part One: What Is Poetic Form?
    Poetry, Form and Experience Part One: What is Poetic Form? Tom Phillips, Virgil in his Study (1980) Image courtesy of the artist. 19 C reative Writing 2: Poetry, Form and Experience Introduction Part One considers what is meant by ‘form’ in the context of poetry, and suggests that all poems have form, including free verse poems. Over five short projects you’ll explore the poetic line, the stanza, non-standard uses of punctuation and syntax, different ways of using the white space of the page, and poetic sequences, as well as learning about the importance of reading contemporary poetry. You’ll also set up an online Padlet where you can pin up links and documents that are relevant to your research (such as poems that interest you) and there will be support available to help you do this. These five projects culminate in an assignment that asks you to write six free verse poems (80-120 lines in total) that make use of some of the techniques you’ve learnt about in this part of the course. Tip: Keep a glossary Throughout this unit you will be introduced to new words and concepts. It will be useful to keep a glossary and record any unfamiliar terms or ideas, alongside their definitions. Add new words and definitions as you encounter them. You can keep your glossary in a dedicated notebook or a document on your computer – or whatever you like in fact, but something you can return to throughout the unit. Begin adding to it from today. You might return to some definitions later and amend them, as your understanding of some terms develops or even changes completely.
    [Show full text]
  • TABOR-DISSERTATION-2014.Pdf
    Copyright by Nathan Lee Marsh Tabor 2014 The Dissertation Committee for Nathan Lee Marsh Tabor Certifes that this is the approved version of the following dissertation: A Market for Speech Poetry Recitation in Late Mughal India, 1690-1810 Committee: Syed Akbar Hyder, Supervisor Kathryn Hansen Kamran Asdar Ali Gail Minault Katherine Butler Schofeld A Market for Speech Poetry Recitation in Late Mughal India, 1690-1810 by Nathan Lee Marsh Tabor, B.A.; M.Music. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfllment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2014 Acknowledgments Dissertations owe their existence to a community of people who support their authors and the awkward acknowledgments section does little to give enough credit where it’s due. Nonetheless, I tip my hat to the myriad people who helped me. Fieldwork was a long process with strange turns. Fellow tea-drinkers and gossips in Muzafarnagar were witty, sagacious, hospitable, and challenging companions who helped me to chart this project albeit indirectly. Though my mufassal phase only gets a nod in the present work, Muzafarnagar-folks’ insights and values informed my understanding of Urdu literature’s early history and taught me what to look for while wading through compendiums. Now the next project will be better prepared to tell their complicated and intriguing stories. Had it not been for Syed Akbar Hyder, my advisor and guide, there would be no “speech market.” He knew me, my strengths, hopefully overlooked my shortcomings, and put me on a path perfectly hewn for my interests.
    [Show full text]
  • Poetry Terminology for Understanding Poetry, the Terms You Have Already Learned Are Necessary As Well As Others That Are Specific to the Form of Poems
    2. Poetry Terminology For understanding poetry, the terms you have already learned are necessary as well as others that are specific to the form of poems. 2.1 Meter 2.2 Rhyme 2.3 Stanza 2.4 Epic 2.5 Haiku 2.6 Sonnet 2.7 Terza Rima 2.8 Villanelle 2.9 Rhyme Royal 2.10 Sestina 2.11 Blank Verse 2.12 Free Verse 2.13 Additional Poetic Terms 2.1 Meter Meter is a poetic device that serves as a linguistic sound pattern for the verses, as it gives poetry a rhythmical and melodious sound. Meter is a stressed and unstressed syllabic pattern in a verse or within the lines of a poem. Stressed syllables tend to be longer and unstressed shorter. A foot is a combination of two or more syllables which form a unit of rhythm. The number of feet per line is how we analyze meter. Example: Homer’s Iliad was written in hexameter, 6 feet per line; William Shakespeare popularized iambic pentameter, five feet per line consisting of unstressed syllable followed by stressed syllable. 2.2 Rhyme Rhyme is the use of similar ending syllables in lines of poetry. It should sound natural and add to or create the rhythm of the poem. Rhyme is identified by assigning the same letter to lines of poetry that rhyme with each other. Example: In Robert Frost’s Stopping by the Woods on a Snowy Evening, Whose woods these are I think I know. a His house is in the village though; a He will not see me stopping here b To watch his woods fill up with snow.
    [Show full text]
  • A Historical and Critical Study of Browning's Asolando Volume
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 3-1961 A Historical and Critical Study of Browning's Asolando Volume Paulina Estella Buhl University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the English Language and Literature Commons Recommended Citation Buhl, Paulina Estella, "A Historical and Critical Study of Browning's Asolando Volume. " PhD diss., University of Tennessee, 1961. https://trace.tennessee.edu/utk_graddiss/2989 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Paulina Estella Buhl entitled "A Historical and Critical Study of Browning's Asolando Volume." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, with a major in English. Kenneth L. Knickerbocker, Major Professor We have read this dissertation and recommend its acceptance: Alwin Thaler, Bain T. Stewart, Reinhold Nordsieck, LeRoy Graf Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Copyl'ight by PAULINA ESTELLA BUHL 1961 March 2, 1961 To the Graduate Council: I am submitting herewith a thesis written by Paulina Estella Buhl entitled 11A Historical and Critical Study of Browning's Asolando Volume ." I reconunend that it be accepted in partial fulfillment of the require­ ments for the degree of Doctor of Philosophy, with a major in English.
    [Show full text]