DOCSLIB.ORG

Views with the Teacher, Teacher-Student Interactions, the Students’ Artifacts, and the Researchers’ Fields Notes and Research Journals

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Views with the Teacher, Teacher-Student Interactions, the Students’ Artifacts, and the Researchers’ Fields Notes and Research Journals A MICROETHNOGRAPHIC STUDY OF INTERTEXTUALITY AND POETICS IN WRITING PRACTICES IN A KINDERGARTEN CLASSROOM DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Huili Hong, M.A. ***** Graduate Program in Education The Ohio State University 2012 Dissertation Committee: Professor David Bloome, Advisor Professor Alan Hirvela Professor Laurie Katz Professor David Yaden Copyright by Huili Hong 2012 ABSTRACT This dissertation reports on a yearlong microethnographic study that investigated the social construction of intertextuality and poetics in young children’s classroom writing practices over time. The participants were nineteen five- to six-year-old kindergarteners from six different cultural and linguistic backgrounds (Indian, Venezuelan, Finnish, Russian, Iraqi, and Mexican), as well as their teacher, who attended an elementary school in the Midwestern United States. The study adopted a microethnographic approach to discourse analysis of the naturally occurring classroom activities and also analyzed interviews with the teacher, teacher-student interactions, the students’ artifacts, and the researchers’ fields notes and research journals. Examination of the young children’s social construction of intertextuality as a learning heuristic and of poetics in their writing practices yielded two main sets of findings. First, the young children’s writing was found to involve a set of complex intertextual practices. The jointly constructed intertextualities were found to be more complex than the processes of proposing, recognizing, acknowledging, and constituting social significance or consequences found in previous research on the social construction of intertextuality. Rather, the present research found that the social construction of intertextuality involved highly fluid processes with some reoccurring, suspended, and ii omitted phases. Students’ intertextuality construction was found to be multi-layered and intertwined with each other. The children’s continuous construction of organizational, thematic, and orientational intertextualities became powerful heuristics of their various kinds of learning. Second, a shared poetics was found to be constructed through the ELLs’ learning, experimenting, and experiences with poetic language uses and devices. The results showed that the shared poetics constituted part of their classroom culture and the poetics construction processes successfully engaged the children’s imagination and creativity in their writing practices. The findings underscore the potentials of engaging young children in intertextuality and poetics construction as well as the importance of play, pleasure, poetics, and aesthetics as part of children’s classroom literacy learning practices. iii Dedicated to HIM Also dedicated to Victoria (Ruiya) iv ACKNOWLEDGMENTS For the years in my life so far, my heart has always been full of gratitude. I could never have made it on my own. First and foremost, this dissertation would never be possible without the amazing support from the teacher and all the lovely children in the English language learner kindergarten classroom. Their participation in, contribution to, and inspiration for this dissertation research is deeply appreciated. I am deeply grateful to all my committee members: Dr. David Bloome, Dr. Alan Hirvela, Dr. Laurie Katz, and Dr. David Yaden. It is such a great honor to have you on my committee. I want to express my sincere thanks to each one of you for being part of my graduate school experience and dissertation research process. My utmost gratitude goes to my advisor, Dr. David Bloome. Words fail me to express my appreciation to you for your inspiring teaching and advising. I gratefully thank Dr. Alan Hirvela with whom I had the privilege to work in the first two years of my graduate study at The Ohio State University. Your work ethic definitely set up an excellent model for me to pursue in my graduate study and in the future. My warm and sincere thanks go to Dr. Laurie Katz for your advice on and crucial contribution to my dissertation research. I gratefully acknowledge Dr. David Yaden for kindly agreeing to be on my committee and guiding me through this study. v My special thanks go to Dr. Adelaide Parsons and Dr. Fred Janzow who helped me realize my dream of studying in the States. Many thanks also go to my friends: Melissa Wilson, Marlene Beierle, and Dr. Icy Lee. Melissa and Marlene, thank you for sharing so many research sources and your precious teaching experiences. Icy, thank you for your prayers for me and warm notes. I would like to thank everyone that I ever worked with in the Language, Education, and Society program and Foreign and Second Language Education program. I want to thank Dr. Shirley Brice Heath for your feedback on my dissertation and my future research. I want to thank Dr. Judith Green for your generous sharing of discourse analysis and ethnographic study resources. My biggest thanks go to my other two life-long teachers: my parents. Thank you, Dad, for the freedom you gave me to make my choices in my life. Thanks to you and Mom for your unfailing support and love for me and passing your passion for teaching on to me. To my brother, Weiwei, I thank you for being my best friend and supporting me unconditionally all the time. My deep appreciation also goes to Miao. Thank you for being with me through the ups and downs all these years. Last but most important, I thank HIM for HIS love for me, mercy on me, sharing of wisdom, knowledge, and courage with me and sending Victoria (Ruiya), my best friend and the most precious gift in my life. vi VITA 2002 ............................................................B.A. English Education, Hunan Normal University 2006 .............................................................M.A. English Language and Literature, Beijing Language and Culture University 2008..............................................................M.A. TESOL, Southeast Missouri State University 2008-present.................................................Ph. D. Candidate College of Education and Human Ecology The Ohio State University PUBLICATIONS Bloome, D., Katz, L., Hong, H., May-Woods, P., & Wilson, M. (in press). Methodologies in research on young children and literacy. To be published in J. Larson, N. Hall, & J. Marsh (Eds.), Handbook of Early Childhood Literacy (2nd Edition). SAGE. Hong, H. (in press). Reading goes hybrid: Case study of a second language reader. In Y. Ning & S. Liu (Eds.), Foreign Language Learning in Cross-cultural Contexts. Beijing: Higher Education Press. Hong, H. (in press). Time to speak out: Looking for the keys to successful Non-native English speaking professionals’ conference presentation. In Y. Ning & S. Liu (Eds.), In Foreign Language Learning in Cross-cultural Contexts. Beijing, Higher Education Press. Bloome, D., & Hong, H. (2012). Reading and intertextuality. In C. A. Chapelle (Ed.), The Encyclopedia of Applied Linguistics. John Wiley & Sons, Inc. vii FIELDS OF STUDY Major Field: Education and Human Ecology Areas of Emphases: Literacy studies Foreign, Second, and Multilingual Language Education Cognate Areas: Discourse Analysis, Ethnographic Study, Qualitative Research viii TABLE OF CONTENTS Page Abstract ...............................................................................................................................ii Dedication ..........................................................................................................................iv Acknowledgments .............................................................................................................. v Vita and Publications.........................................................................................................vii Fields of Study..................................................................................................................viii Table of Contents................................................................................................................ix List of Tables ....................................................................................................................xii CHAPTERS: 1. Introduction .....................................................................................................................1 Statement of the problem ........................................................................................4 Research questions ..................................................................................................5 Purposes and significance of the study....................................................................7 Theoretical framework and assumptions.................................................................7 Limitations of the study...........................................................................................9 Definition of key terms .........................................................................................10 Outline of the dissertation .....................................................................................17 2. Literature Review...........................................................................................................18 Interrelatedness of children’s writing, talking, drawing and play..........................21 Use of Intertextuality in teaching, learning and research ELL students’ reading and writing.............................................................................................................45
Load more

Recommended publications
  • Introduction to Meter
    Introduction to Meter A stress or accent is the greater amount of force given to one syllable than another. English is a language in which all syllables are stressed or unstressed, and traditional poetry in English has used stress patterns as a fundamental structuring device. Meter is simply the rhythmic pattern of stresses in verse. To scan a poem means to read it for meter, an operation whose noun form is scansion. This can be tricky, for although we register and reproduce stresses in our everyday language, we are usually not aware of what we’re going. Learning to scan means making a more or less unconscious operation conscious. There are four types of meter in English: iambic, trochaic, anapestic, and dactylic. Each is named for a basic foot (usually two or three syllables with one strong stress). Iambs are feet with an unstressed syllable, followed by a stressed syllable. Only in nursery rhymes to do we tend to find totally regular meter, which has a singsong effect, Chidiock Tichborne’s poem being a notable exception. Here is a single line from Emily Dickinson that is totally regular iambic: _ / │ _ / │ _ / │ _ / My life had stood – a loaded Gun – This line serves to notify readers that the basic form of the poem will be iambic tetrameter, or four feet of iambs. The lines that follow are not so regular. Trochees are feet with a stressed syllable, followed by an unstressed syllable. Trochaic meter is associated with chants and magic spells in English: / _ │ / _ │ / _ │ / _ Double, double, toil and trouble, / _ │ / _ │ / _ │ / _ Fire burn and cauldron bubble.
    [Show full text]
  • Lerud Dissertation May 2017
    ANTAGONISTIC COOPERATION: PROSE IN AMERICAN POETRY by ELIZABETH J. LERUD A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2017 DISSERTATION APPROVAL PAGE Student: Elizabeth J. LeRud Title: Antagonistic Cooperation: Prose in American Poetry This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the English Department by: Karen J. Ford Chair Forest Pyle Core Member William Rossi Core Member Geri Doran Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017. ii © 2017 Elizabeth J. LeRud iii DISSERTATION ABSTRACT Elizabeth J. LeRud Doctor of Philosophy Department of English June 2017 Title: Antagonistic Cooperation: Prose in American Poetry Poets and critics have long agreed that any perceived differences between poetry and prose are not essential to those modes: both are comprised of words, both may be arranged typographically in various ways—in lines, in paragraphs of sentences, or otherwise—and both draw freely from the complete range of literary styles and tools, like rhythm, sound patterning, focalization, figures, imagery, narration, or address. Yet still, in modern American literature, poetry and prose remain entrenched as a binary, one just as likely to be invoked as fact by writers and scholars as by casual readers. I argue that this binary is not only prevalent but also productive for modern notions of poetry, the root of many formal innovations of the past two centuries, like the prose poem and free verse.
    [Show full text]
  • Rhythm and Meter in Macbeth Iambic Pentameter (Nobles)
    Grade 9 Analysis- Rhythm and Meter in Macbeth Iambic Pentameter (Nobles) What is it? Shakespeare's sonnets are written predominantly in a meter called iambic pentameter, a rhyme scheme in which each sonnet line consists of ten syllables. The syllables are divided into five pairs called iambs or iambic feet. An iamb is a metrical unit made up of one unstressed syllable followed by one stressed syllable. An example of an iamb would be good BYE. A line of iambic pentameter flows like this: baBOOM / baBOOM / baBOOM / baBOOM / baBOOM. Why does Shakespeare use it? When Shakespeare's characters speak in verse (iambic pentameter), they are usually the noble (aristocratic) characters, and their speech represents their high culture and position in society. It gives the play a structured consistency, and when this is changed in instances of prose such as when Macbeth writes to Lady Macbeth and when Lady Macduff talks with her son, these are normally instances where a situation is abnormal e.g. when the Porter babbles in his drunken haze. Trochaic Tetrameter (Witches) What is it? Trochaic tetrameter is a rapid meter of poetry consisting of four feet of trochees. A trochee is made up of one stressed syllable followed by one unstressed syllable (the opposite of an iamb). Here is the flow of a line of trochaic tetrameter: BAboom / BAboom / BAboom / BAboom. Why does Shakespeare use it? The witches’ speech patterns create a spooky mood from the start of the scene. Beginning with the second line, they speak in rhyming couplets of trochaic tetrameter. The falling rhythm and insistent rhyme emphasize the witchcraft they practice while they speak—boiling some sort of potion in a cauldron.
    [Show full text]
  • Basic Guide to Latin Meter and Scansion
    APPENDIX B Basic Guide to Latin Meter and Scansion Latin poetry follows a strict rhythm based on the quantity of the vowel in each syllable. Each line of poetry divides into a number of feet (analogous to the measures in music). The syllables in each foot scan as “long” or “short” according to the parameters of the meter that the poet employs. A vowel scans as “long” if (1) it is long by nature (e.g., the ablative singular ending in the first declen- sion: puellā); (2) it is a diphthong: ae (saepe), au (laudat), ei (deinde), eu (neuter), oe (poena), ui (cui); (3) it is long by position—these vowels are followed by double consonants (cantātae) or a consonantal i (Trōia), x (flexibus), or z. All other vowels scan as “short.” A few other matters often confuse beginners: (1) qu and gu count as single consonants (sīc aquilam; linguā); (2) h does NOT affect the quantity of a vowel Bellus( homō: Martial 1.9.1, the -us in bellus scans as short); (3) if a mute consonant (b, c, d, g, k, q, p, t) is followed by l or r, the preced- ing vowel scans according to the demands of the meter, either long (omnium patrōnus: Catullus 49.7, the -a in patrōnus scans as long to accommodate the hendecasyllabic meter) OR short (prō patriā: Horace, Carmina 3.2.13, the first -a in patriā scans as short to accommodate the Alcaic strophe). 583 40-Irby-Appendix B.indd 583 02/07/15 12:32 AM DESIGN SERVICES OF # 157612 Cust: OUP Au: Irby Pg.
    [Show full text]
  • My Voice Is My Weapon: Music, Nationalism, and the Poetics Of
    MY VOICE IS MY WEAPON MY VOICE IS MY WEAPON Music, Nationalism, and the Poetics of Palestinian Resistance David A. McDonald Duke University Press ✹ Durham and London ✹ 2013 © 2013 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ♾ Cover by Heather Hensley. Interior by Courtney Leigh Baker Typeset in Minion Pro by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data McDonald, David A., 1976– My voice is my weapon : music, nationalism, and the poetics of Palestinian resistance / David A. McDonald. pages cm Includes bibliographical references and index. isbn 978-0-8223-5468-0 (cloth : alk. paper) isbn 978-0-8223-5479-6 (pbk. : alk. paper) 1. Palestinian Arabs—Music—History and criticism. 2. Music—Political aspects—Israel. 3. Music—Political aspects—Gaza Strip. 4. Music—Political aspects—West Bank. i. Title. ml3754.5.m33 2013 780.89′9274—dc23 2013012813 For Seamus Patrick McDonald Illustrations viii Note on Transliterations xi Note on Accessing Performance Videos xiii Acknowledgments xvii introduction ✹ 1 chapter 1. Nationalism, Belonging, and the Performativity of Resistance ✹ 17 chapter 2. Poets, Singers, and Songs ✹ 34 Voices in the Resistance Movement (1917–1967) chapter 3. Al- Naksa and the Emergence of Political Song (1967–1987) ✹ 78 chapter 4. The First Intifada and the Generation of Stones (1987–2000) ✹ 116 chapter 5. Revivals and New Arrivals ✹ 144 The al- Aqsa Intifada (2000–2010) CONTENTS chapter 6. “My Songs Can Reach the Whole Nation” ✹ 163 Baladna and Protest Song in Jordan chapter 7. Imprisonment and Exile ✹ 199 Negotiating Power and Resistance in Palestinian Protest Song chapter 8.
    [Show full text]
  • Notes on Prosody
    Notes on Middle English Prosody Dr. A Mitchell Sound and Sense Middle English poets typically delight in the accidental harmonies and disharmonies of verbal sounds. Sometimes sound is deliberately made to echoe sense, but more often accoustic patterns do not serve a referential or mimetic function. Syncopated rhythm may just be pleasurable to hear in the voice; variation may aid expressiveness or enhance interest; or sounds may be affective or mnemonic. Sound patterns also function as a sign of the poet’s pedigree, affiliations, or tastes. But in any event critics can probably make only modest claims about the significance of acoustic effects in the vernacular – some measure of irregularity is just a natural consequence of writing in Middle English. Rhyme is the most familiar sound pattern, and it basically demands that the poetic composition be oriented around the music (not the other way around). As a result, the semantic may be subordinated to the sonic or phonetic: e.g., syntax is inverted or contorted so as to get the proper rhyme in place; rhyme words are chosen less for sense than for sound. But of course rhymes may also produce interesting semantic juxtapositions or recapitulations, and occasionally Chaucer among others uses rhyme deftly to produce harmony and discordance, parallelism and antithesis. The main types of rhyme are the following. • end rhyme (most common) • internal rhyme (within a line) • masculine (single-sllable, or when final stressed syllable rhymes as in cat/hat) • feminine (rhymed stressed syllable followed by unstressed as in butter/clutter) • exact rhyme and rime riche (on the same sounds) • near rhyme (not a failed rhyme, it has the salutary effect of avoiding monotony) You will recognize these additional sound effects: • onomatapoia • assonance • alliteration • consonance Metrics: Alliterative and Accentual-Syllabic Some Medieval English verse is alliterative (that of Langland and the so-called poems of the Alliterative Revival), but much is what we call accentual-syllabic.
    [Show full text]
  • Trochees and Iambs2
    CHAPTER III. Some Remarks on the Nature of Trochees and Iambs and their Relationship to Other Metres ‘The iambic is the characteristic rhythm of people as they talk […]. The trochaic rhythm, again, is too much akin to the comic dance, as may be seen in tetrameter verse, for the rhythm of tetrameters is light and tripping. (Aristotle, 1932: 3.8, 1408b). The present study assumes that poetic rhythm in the tonic-syllabic system current in English poetry can be best accounted for by three sets of patterns: First, an abstract matrix of expectations consisting of regularly alternating strong and weak positions. Secondly, the stress-pattern of spoken language. Some aspects of this stress pattern confirm the abstract schema (one could even say that it is from these that the reader abstracts the metric pattern); some aspects deviate from it, and produce tension. These deviations, far from being signs of imperfection, of “unmetricality”, are major prosodic and expressive assets. When the reader encounters some deviation from the abstract metric pattern, he makes adjustments in its performance, so as to preserve both his metrical set, that is, his feeling of regularly alternating strong and weak positions and, at the same time, the stress pattern of his spoken language. The adjustment frequently consists in overarticu- lation, overstressing, and additional grouping of stresses. This constitutes the third pattern, the pattern of performance. The greater the deviation, the greater the adjustment required and the tighter the additional grouping, One of the basic assumptions of the present study is, then, that the rhythm of a poem is accessible only through some kind of performance; an adequate account of a poem’s rhythm can be given only by considering the interplay of three patterns: those of metre, stresses and performance.
    [Show full text]
  • An Analysis of Scansion in William Wordsworth's
    AN ANALYSIS OF SCANSION IN WILLIAM WORDSWORTH’S POEMS SKRIPSI Submitted Partial Fulfillment of the Requiretments For the Degree of Sarjana Pendidikan (S.Pd) English Education Program BY : HARIANI 1502050280 FACULTY OF TEACHER TRAINING AND EDUCATION UNIVERSITY OF MUHAMMADIYAH SUMATERA UTARA MEDAN 2019 i i ii i ABSTRACT Hariani. 1502050280. An Analysis of Scansion in William Wordsworth’s Poems. Thesis : English Education Program of Teachers’ Training and Education. University of Muhammadiyah Sumatera Utara. Medan. 2019. This study deals with the use of scansion in the William Wordsworth‟s poems. There were two main objectives in this study. The first was to find out the metrical foot and line in William Wordsworth‟s poems. The second was to find out the kind of metrical feet dominantly appeared in William Wordsworth‟s poems. Documentation method was used in collecting the data. This study used descriptive qualitative method for analyzed the data and to describe the findngs. There were 10 poems in this research as the source of data, Surprised by Joy, To a Butterfly, With Ships The Sea Was Sprinkled, Glad Sight Whenever New With Old, It Is a Beauteous Evening, Calm, and Free, The Daffodils, I Travelled Among Unknown Men, Great Men Have Been Among Us, At Furness Abbey, The World Is Too Much With Us. The findings showed there were five kinds of metrical feet found in William Wordsworth‟s poems, Monosyllabic (Masculine or Feminine Ending), Iambic, Trochaic, Dsctylic, and Anapestic.The total number of Monosyllabic (Masculine Ending) was (3), (Feminine Ending) was (12), Iambic was (609), Trochaic was (44), Dactylic was (11), and Anapestic was (8).
    [Show full text]
  • MUS 327 Analysis: Rhythm and Meter Week 5 Vocab 3: Poetic Rhythm
    MUS 327 Analysis: Rhythm and Meter Week 5 Vocab 3: Poetic Rhythm Try it yourself: Scansion of Friedrich Schiller, “Ode an die Freude” (Trochaic tetrameter) Freude, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum! Deine Zauber binden wieder Was die Mode streng geteilt; Alle Menschen werden Brüder Wo dein sanfter Flügel weilt. From Purdue Online Writing Lab, https://owl.english.purdue.edu/owl/resource/570/02/ Syllables can either be accented, meaning they are naturally given more emphasis when spoken, or unaccented, meaning they receive less emphasis when spoken. Signs for accented/unaccented syllables: u = unaccented syllable – = accented syllable / = break between poetic feet A poetic foot is a unit of accented and unaccented syllables that is repeated or used in sequence with others to form the meter. Poetic feet are referred to using these terms: Iambic: u – (destroy) Anapestic: u u – (intervene) Trochaic: – u (topsy) Dactylic: – u u (merrily) An enjambment is the continuation of a sentence without a pause beyond the end of a line, couplet, or stanza. Line Length shows the number of feet per line. In the case of tetrameter, there are basically four feet per line. The types of line lengths are as follows: One foot: Monometer Two feet: Dimeter Three feet: Trimeter Four feet: Tetrameter Five feet: Pentameter Six feet: Hexameter A Stanza is a group of lines, a quatrain is a group of four lines, and a couplet is a pair of lines. Declamatory Schema maps beat numbers in a given musical meter onto accented syllables in the poem in order to provide a basic outline of declamatory rhythm and patterns that recur within the song.
    [Show full text]
  • Chaucer's Prosody
    Chaucer’s Prosody and Poetics Dr. A Mitchell The following is meant to remind you of the available technical terminology for analyzing Chaucer’s verse, and can serve as a handy checklist when thinking and writing about his poetry (and many other cultural artefacts besides literary ones). Use this sheet along with my “Checklist for Close Reading” to ask questions about the literature you study. None of this is a substitute for a good dictionary of literary terms, which every student should have on the shelf. Here are just some of the common tools of the trade so that you can consider what needs to be added to your toolkit – so as to enhance your critical capabilities and vocabulary. You need to handle relevant terms when analyzing Chaucer’s writing. So begin here. A. Figurative Language Medieval poets tended to cultivate formal qualities that moderns have not especially prized in their own writing, including mannered forms of address, consistently elevated language, and fixed forms of verse (such as the ballade). Their verse also tends to be greatly ornamented, richly embroidered with rhetorical figures. The thing to look out for in Chaucer is the subtle ways in which he innovates on forms and norms handed down to him. To see how he works, however, you must be able to identify the conventions. Language • concrete and abstract diction • denotation and connotation • register: formal and informal, colloquial, dialect, jargon • syntax (the order of words) Speaker, Persona, Tone • speaker, persona • address: direct address, free indirect • objective or impersonal versus personal voice Figurative Language • imagery (appeal to senses) • simile (using like or as) • metaphor (tenor and vehicle, implied or extended) • metonymy (a thing substituted for another by association) o Pen is mightier than the sword; He’s taken to the bottle • synecdoche (part for whole or vice versa) o Take my hand in marriage; Flesh and blood • oxymoron; puns or syllepsis • personification or prosopopeia; allegory B.
    [Show full text]
  • Poetic Technique in Vikram Seth's the Golden Gate
    Poetic Technique in Vikram Seth's The Golden Gate by June Edvenson Thjømøe A Thesis presented to the Department of Humanities University of Oslo in partial fulfillment of the requirements for the Master of Arts degree in English Literature September, 2008 Oslo, Norway Table of Contents Acknowledgements i Dedication and Foreword ii 1. Introduction 1 2. Analytical Tools 4 3. Analysis and Comment to Date 11 4. Analysis 14 A. Beginnings: Sonnet 1.1 14 B. Dialogues 19 1. Voicemail and Phone Chat 20 2. Context and Conversation at a Chinese Restaurant 21 C. Party Contexts 31 1. Cocktail Party Culture 31 2. The Wedding Party 41 3. The Last Party 44 D. Nature 48 1. Characters in Nature 48 2. Seth Characterizing Nature 51 E. Activism and Acts 56 1. Speech and Social Activism: The Priest's Speech 56 2. Acts of Prayer & Salvation 63 a. Prayer to Saint Francis 63 b. Endings 65 5. Conclusion 69 APPENDIX A: Synopsis of The Golden Gate 80 BIBLIOGRAPHY 107 Primary Bibliography Secondary Bibliography Acknowledgements I would like to thank my advisor, Juan Christian Pellicer, for his insightful direction and support. I would also like to thank Professor Jakob Lothe for his guidance in the Thesis Writing seminar. i Dedication To my husband, Hans Mathias Thjømøe, for his steadfast belief in me and his support of my efforts in Norway Foreword Also born in '52, She grew up in Chicago, Hometown of gangsters, cronies, blues. To the Illinois forests and plains she moves. There, studied literature and law, Landscapes, philosophy, played in a band.
    [Show full text]
  • The Function of Poetry in the Maqamat Al-Hariri
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2-24-2020 The Function of Poetry in the Maqamat al-Hariri Hussam Almujalli Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Arabic Language and Literature Commons, Arabic Studies Commons, and the Comparative Literature Commons Recommended Citation Almujalli, Hussam, "The Function of Poetry in the Maqamat al-Hariri" (2020). LSU Doctoral Dissertations. 5156. https://digitalcommons.lsu.edu/gradschool_dissertations/5156 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE FUNCTION OF POETRY IN THE MAQAMAT AL-HARIRI A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Humanities and Social Sciences College in partial fulfillment of the requirements of the degree of Doctor of Philosophy in The Department of Comparative Literature by Hussam Almujalli B.A., Al-Imam Muhammad Ibn Saud Islamic University, 2006 M.A., Brandeis University, 2014 May 2020 Acknowledgments I would like to acknowledge all of the help that the faculty members of the Comparative Literature Department at Louisiana State University have given me during my time there. I am particularly grateful to my advisor, Professor Gregory Stone, and to my committee members, Professor Mark Wagner and Professor Touria Khannous, for their constant help and guidance. This dissertation would not have been possible without the funding support of the Comparative Literature Department at Louisiana State University.
    [Show full text]