{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/81498"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/81498","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Poetry, Place, and Painting in the Works of Frank O'Hara","abstract":"Frank O'Hara defined himself, both as a man and a poet, as Eliot's antithesis. Eventually, O'Hara would create a modern urban poetry that repudiated Eliot's poetry and the attitudes it conveyed, a repudiation that culminates in O'Hara's Second Avenue, a modern urban epic that both emulates and is antithetical to Eliot's The Waste Land. Having broken free of Eliot's influence and establishing his own poetic manifesto, O'Hara could embrace his generation's dominant art form: painting rather than literature and Abstract Expressionist painting in particular. This new freedom allowed O'Hara to experiment in words with painterly techniques and eventually satisfy one of his great desires---to take part in a true collaboration with a painter, a desire achieved with Larry Rivers and their twelve lithographs entitled Stone.","abstract_html":"Frank O'Hara defined himself, both as a man and a poet, as Eliot's antithesis. Eventually, O'Hara would create a modern urban poetry that repudiated Eliot's poetry and the attitudes it conveyed, a repudiation that culminates in O'Hara's Second Avenue, a modern urban epic that both emulates and is antithetical to Eliot's The Waste Land. Having broken free of Eliot's influence and establishing his own poetic manifesto, O'Hara could embrace his generation's dominant art form: painting rather than literature and Abstract Expressionist painting in particular. This new freedom allowed O'Hara to experiment in words with painterly techniques and eventually satisfy one of his great desires---to take part in a true collaboration with a painter, a desire achieved with Larry Rivers and their twelve lithographs entitled Stone.","abstract_has_math":false,"creators":["Wolf, Stephen Michael"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Ph.D.","degree_level":"Dissertation","degree_discipline":"English","degree_department":null,"school":null,"contributors":["James Hurt"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-25T20:15:44Z","date_published":"2015-09-25T20:15:44Z","updated_at":"2026-07-22T22:26:16Z","subjects":["Literature, American"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI9912429"],"render_values":[{"text":"(MiAaPQ)AAI9912429","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/81498","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["James Hurt"]},{"key":"dc:creator","label":"Author","values":["Wolf, Stephen Michael"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-25T20:15:44Z","10000-01-01","1998"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["English"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ph.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Literature, American"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/81498","(MiAaPQ)AAI9912429"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Frank O'Hara defined himself, both as a man and a poet, as Eliot's antithesis. Eventually, O'Hara would create a modern urban poetry that repudiated Eliot's poetry and the attitudes it conveyed, a repudiation that culminates in O'Hara's Second Avenue, a modern urban epic that both emulates and is antithetical to Eliot's The Waste Land. Having broken free of Eliot's influence and establishing his own poetic manifesto, O'Hara could embrace his generation's dominant art form: painting rather than literature and Abstract Expressionist painting in particular. This new freedom allowed O'Hara to experiment in words with painterly techniques and eventually satisfy one of his great desires---to take part in a true collaboration with a painter, a desire achieved with Larry Rivers and their twelve lithographs entitled Stone.","Made available in DSpace on 2015-09-25T20:15:44Z (GMT). No. of bitstreams: 2 license.txt: 4848 bytes, checksum: 96035ab3f5e1c23cc7138a224ce498bd (MD5) 9912429.pdf: 5628420 bytes, checksum: 4df92130909b55dc76cd838ad2a10a33 (MD5) Previous issue date: 1998","Embargo set by: Seth Robbins for item 82779 Lift date: Forever Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","U of I Only","121 p.","Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 1998."]},{"key":"dc:title","label":"Title","values":["Poetry, Place, and Painting in the Works of Frank O'Hara"]}]}],"canonical_facts":{"dc:contributor":["James Hurt"],"dc:creator":["Wolf, Stephen Michael"],"dc:date":["2015-09-25T20:15:44Z","10000-01-01","1998"],"dc:description":["Frank O'Hara defined himself, both as a man and a poet, as Eliot's antithesis. Eventually, O'Hara would create a modern urban poetry that repudiated Eliot's poetry and the attitudes it conveyed, a repudiation that culminates in O'Hara's Second Avenue, a modern urban epic that both emulates and is antithetical to Eliot's The Waste Land. Having broken free of Eliot's influence and establishing his own poetic manifesto, O'Hara could embrace his generation's dominant art form: painting rather than literature and Abstract Expressionist painting in particular. This new freedom allowed O'Hara to experiment in words with painterly techniques and eventually satisfy one of his great desires---to take part in a true collaboration with a painter, a desire achieved with Larry Rivers and their twelve lithographs entitled Stone.","Made available in DSpace on 2015-09-25T20:15:44Z (GMT). No. of bitstreams: 2 license.txt: 4848 bytes, checksum: 96035ab3f5e1c23cc7138a224ce498bd (MD5) 9912429.pdf: 5628420 bytes, checksum: 4df92130909b55dc76cd838ad2a10a33 (MD5) Previous issue date: 1998","Embargo set by: Seth Robbins for item 82779 Lift date: Forever Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","U of I Only","121 p.","Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 1998."],"dc:identifier":["http://hdl.handle.net/2142/81498","(MiAaPQ)AAI9912429"],"dc:language":["eng"],"dc:subject":["Literature, American"],"dc:title":["Poetry, Place, and Painting in the Works of Frank O'Hara"],"dc:type":["text"],"thesis:degree_discipline":["English"],"thesis:degree_level":["Dissertation"],"thesis:degree_name":["Ph.D."],"thesis:institution_name":["University of Illinois at Urbana-Champaign"]},"updated_at":"2026-07-22T22:26:16Z"}