Herni 1
INTELLECTUAL PROPERTY STATEMENT
Utrecht University defines “plagiarism” as follows:
“If, in a thesis or some other paper, data or parts of a text produced by someone else are
used without the source being identified, this shall be considered plagiarism. Among other
things, plagiarism may entail the following:
cutting and pasting text from digital sources such as encyclopaedias or digital
journals, without using quotations marks and references;
cutting and pasting any text from the internet without using quotation marks and
references;
copying from printed material such as books, journals or encyclopaedias without
using quotations marks and references;
using a translation of the above texts in your own work, without using quotations
marks and references;
paraphrasing the above texts without using references. A paraphrase should never
consist of merely replacing some words by synonyms;
using pictures, sound recordings, or test materials produced by others without
references, such that it appears that this is one’s own work;
copying work by other students and passing this off as one’s own work. If this is done
with the other student’s consent, the latter shall be an accomplice to the plagiarism;
even in cases where plagiarism is committed by one of the authors collaborating on a
paper, the other authors shall be accomplices to plagiarism if they could or ought to
have known that the first-mentioned author was committing plagiarism;
submitting papers acquired from a commercial source (such as an internet site
offering summaries or complete essays) or written by someone else for payment.”
I have read the above definition of plagiarism and certify with my signature that I have not
committed plagiarism in the appended essay or paper.
, Herni 2
“I am not that tree”:
The Crucifix in Glück’s lyric poetry as the Tree of Revelation
With our current individualistic, globalised society as produced by twentieth-century
modernisation, traditional Christian structures based on the fundamental role of the divine on
earth are rapidly disappearing (Droogers 19-26). Consequently, the influence of Christianity
on literature tends to be characterised as one that is merely made up of historical traditions
void of embodied sensational experiences of the divine (Meyer and Stordalen 1). Yet,
twentieth- and twentieth-first-century poets are being inspired by devotional lyric poetry
which meant a new, intimate interaction with the mysteriousness of God by means of
suppressed, private voices (Hopler & Johnson 297-8; 377-8). This religious bond is also seen
in Louise Glück’s lyric poetry, which is criticised and reassessed by her use of religious
discourse and elements of nature (Morris 1-3).
Due to Glück’s past with anorexia nervosa, the topics of suffering have always been
central to her poetry: “she is willing to sacrifice anything with body and physicality for her
art” (Morris 57). The physical body and sacrifice together have religious connotations as well,
meaning the body of Jesus Christ on the wooden Cross. The crucifixion has been visualised in
numerous ways, but for centuries, it has been linked to the history of wood sculpture and to
salvation (Fozi & Lutz 10; Viladesau xi-xii). Recognisably, Glück alludes to the symbol of the
Cross in multiple poems by including imagery of a wooden structure that is the tree: “tree is
torment” (“Elms”). The tree highlights the material of which the Cross is made, namely wood,
which evokes the story of the crucifixion (Kitzinger 393). She then expresses the physical
body abstractly in the form of a personal, earthly voice which interacts with an abstract Christ
symbolised by the tree.
However, Glück’s poetry rarely constitutes of one personal voice. She captures the
plurality of voice in “Parable of the Dove” in simply one line by complicating the subject-
INTELLECTUAL PROPERTY STATEMENT
Utrecht University defines “plagiarism” as follows:
“If, in a thesis or some other paper, data or parts of a text produced by someone else are
used without the source being identified, this shall be considered plagiarism. Among other
things, plagiarism may entail the following:
cutting and pasting text from digital sources such as encyclopaedias or digital
journals, without using quotations marks and references;
cutting and pasting any text from the internet without using quotation marks and
references;
copying from printed material such as books, journals or encyclopaedias without
using quotations marks and references;
using a translation of the above texts in your own work, without using quotations
marks and references;
paraphrasing the above texts without using references. A paraphrase should never
consist of merely replacing some words by synonyms;
using pictures, sound recordings, or test materials produced by others without
references, such that it appears that this is one’s own work;
copying work by other students and passing this off as one’s own work. If this is done
with the other student’s consent, the latter shall be an accomplice to the plagiarism;
even in cases where plagiarism is committed by one of the authors collaborating on a
paper, the other authors shall be accomplices to plagiarism if they could or ought to
have known that the first-mentioned author was committing plagiarism;
submitting papers acquired from a commercial source (such as an internet site
offering summaries or complete essays) or written by someone else for payment.”
I have read the above definition of plagiarism and certify with my signature that I have not
committed plagiarism in the appended essay or paper.
, Herni 2
“I am not that tree”:
The Crucifix in Glück’s lyric poetry as the Tree of Revelation
With our current individualistic, globalised society as produced by twentieth-century
modernisation, traditional Christian structures based on the fundamental role of the divine on
earth are rapidly disappearing (Droogers 19-26). Consequently, the influence of Christianity
on literature tends to be characterised as one that is merely made up of historical traditions
void of embodied sensational experiences of the divine (Meyer and Stordalen 1). Yet,
twentieth- and twentieth-first-century poets are being inspired by devotional lyric poetry
which meant a new, intimate interaction with the mysteriousness of God by means of
suppressed, private voices (Hopler & Johnson 297-8; 377-8). This religious bond is also seen
in Louise Glück’s lyric poetry, which is criticised and reassessed by her use of religious
discourse and elements of nature (Morris 1-3).
Due to Glück’s past with anorexia nervosa, the topics of suffering have always been
central to her poetry: “she is willing to sacrifice anything with body and physicality for her
art” (Morris 57). The physical body and sacrifice together have religious connotations as well,
meaning the body of Jesus Christ on the wooden Cross. The crucifixion has been visualised in
numerous ways, but for centuries, it has been linked to the history of wood sculpture and to
salvation (Fozi & Lutz 10; Viladesau xi-xii). Recognisably, Glück alludes to the symbol of the
Cross in multiple poems by including imagery of a wooden structure that is the tree: “tree is
torment” (“Elms”). The tree highlights the material of which the Cross is made, namely wood,
which evokes the story of the crucifixion (Kitzinger 393). She then expresses the physical
body abstractly in the form of a personal, earthly voice which interacts with an abstract Christ
symbolised by the tree.
However, Glück’s poetry rarely constitutes of one personal voice. She captures the
plurality of voice in “Parable of the Dove” in simply one line by complicating the subject-
