Dissertationen zum Thema „God – Poetry“
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1
Jenkins, Sarah E. „Facing God : contemporary American devotional poetry /“. Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2392.pdf.
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Mariani, Paul L. „God and the imagination: Praying through poetry“. The Church in the 21st Century Center at Boston College, 2013. http://hdl.handle.net/2345/bc-ir:104010.
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3
Mason, John Robert. „To Milton through Dryden and Pope, or, God, man and nature : 'Paradise Lost' regained?“ Thesis, University of Cambridge, 1987. https://www.repository.cam.ac.uk/handle/1810/250913.
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This thesis handles a number of passages in the poems of Dryden and Pope which show that both poets had been deeply impressed by Paradise Lost. These passages are so various and numerous (this is one of the principal claims to novelty of this thesis) that it is no longer possible to maintain that Milton was in different ways an isolated figure. Secondly, the effect on both poets of these passages they admired in Paradise Lost is such as to justify the claim that in important respects Milton made Dryden and Pope. The principal point of this thesis is to provide evidence suggesting that the implied verdict on Paradise Lost which emerges from Dryden's and Pope's manifold uses of the poem in producing their own poetry, is radically unlike any of the verdicts pronounced on Paradise Lost by the most gifted readers of poetry during the years from Wordsworth's death down to the present. In Dryden and Pope there was a common underlying estimate of the permanent worth of Paradise Lost. This finding entails an examination of the nature and development of the divergent tradition, which is traced back to a point in the middle years of the nineteenth century, and has been maintained without substantial addition or modification until recent times. However, the bulk of the thesis is not polemical. God, Man and Nature are the topics which principally stirred the two poets in their reading of Paradise Lost. Nevertheless, neither Dryden nor Pope separated their feelings for Milton's Nature from their feelings for Milton's Man and Milton's God. The nature found by Dryden and Pope was a nature crowned by human nature, but was invisible until they were confronted by the intermingling and interpenetration of the human and the divine. Common to Dryden and Pope was the conviction that Paradise Lost was a unique creation and unique above all because these three elements were so interrelated, and one could never be isolated without involving all the others. The whole question of what constitutes evidence of Dryden's and Pope's contact with Paradise Lost is examined in a separate appendix. Further appendices include lists of all the instances known to me.
4
Gilliland, Don. „Self, world, and God in the poetry of Dickinson and Melville“. Thesis, [Tuscaloosa, Ala. : University of Alabama Libraries], 2009. http://purl.lib.ua.edu/80.
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Hanley, Lorraine D. „God, exile and the development of the poetic voice in the poetry of Ernestina de Champourcin /“. May be available electronically:, 2008. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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6
Esser, Carolin Maud. „Naming the divine : designations for the Christian God in old English poetry“. Thesis, University of York, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434102.
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7
Greenham, Ellen J. „Vision and desire: Jim Morrison's mythography beyond the death of God“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2009. https://ro.ecu.edu.au/theses/16.
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The poetry of Jim Morrison, as opposed to his lyric verse, has been the subject of little critical examination. The aim of this paper is to open up an understanding and interpretation of a mythographic landscape developed by Morrison in his response to existence in a demythologised western culture. Through the use of the Greek myth of Oedipus in its entirety, as opposed to the two most universally known events of the adult Oedipus' life, discussion here will attempt to demonstrate that Morrison developed a cohesive, holistic vision of the human condition of existence in the world, and presented a path of possibility for transcending its conflict. Indeed, it is proposed here that Morrison draws a clear path to and framework for living beyond the death of God. For structure, discussion will be framed around not only the Oedipal myth, but also the ?Three Metamorphoses? found in Nietzsche?s Thus Spoke Zarathustra, a transformational trinity which is easily aligned to the story of Oedipus. Critical theory will be drawn from mythology, principally through the work of Joseph Campbell, existentialism, from the work of Soren Kierkegaard and Jean-Paul Sartre, psychoanalysis, drawing mainly from Sigmund Freud, Julia Kristeva and Jacques Lacan and philosophy, based largely though not exclusively, in Friedrich Nietzsche' s The Will to Power.
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Sayuti, Najmah. „The concept of Allāh as the highest God in pre-Islamic Arabia : a study of pre-Islamic Arabic religious poetry“. Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30215.
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The ancient Arabs used poetry not only to entertain themselves in the midst of their harsh life in the Arabian desert, but also to proclaim their cultural values, which were the moral-spiritual and material basis of their nomad society. Composing poetry therefore was almost a sacred rite for them. Its recitation in particular, was a main feature of certain ritual customs held annually during the aswaq (sg. suq , festival) season. The most common themes touched upon were the attributes of which a tribe may have been particularly proud, such as its victories and generosity to the vanquished, the bravery of its heroes in battle and on hard journeys, the beauty of its women and of nature, the genealogy of the tribe, and prayers to the Almighty.Through verse the ancient Arabs expressed how they conceived of their deities, whether, idols representing various gods and goddesses, or Allah. These verses make it clear that Allah alone was not represented by any idol, allowing us to infer that He was regarded as superior to other deities. This thesis, therefore, attempts to show how the ancient Arabs expressed through poetry their belief in Allah as the Lord of Gods, which was the true nature of their ancestral belief, the h&dotbelow;anifiyya, the religion of their forefathers Abraham and Ishmael.
9
McCullough, Eleanor G. „"Except you ravish me" [microform] : the images of Christ as courtly knight, bridegroom, and mother of the soul as woven through the religious love lyric "In a valey of this restles mynde" /“. Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p048-0326.
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10
Farish, Helen. „Sex, God and grief in the poetry of Louise Gluck and Sharon Olds“. Thesis, Oxford Brookes University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421705.
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Fløysvik, Ingvar. „When God becomes your enemy the theology of the complaint Psalms /“. Theological Research Exchange Network (TREN), 1994. http://www.tren.com.
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12
Tocheva, Polya. „The Language of Man and the Language of God in George Herbert's Religious Poetry“. Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/TochevaP2003.pdf.
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Hand, Jessica Danielle. „God Made the Apples, We Made the Bites“. Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_theses/108.
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These poems trace different manifestations of religion, particularly Christianity in the Bible Belt, and the effect upon families and relationships. Issues of war, death, illness, and sexuality also permeate these lyrical narratives.
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Myers, Lillian. „The Dwelling Place of God: the Significance of Structure in "The Temple"“. Thesis, Griffith University, 1999. http://hdl.handle.net/10072/366135.
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Critics now generally agree that The Temple is a unity, that it has a definite and deliberate structure and that George Herbert is a poet of order who ordered the collection in a very specific way. There is some agreement on the patterning of the initial poems and the last few, but agreement has not been reached concerning the precise nature and extent of the sequences. When the layout of poems in the Williams manuscript is taken into consideration, it can be seen that Herbert intended the layout of the poems on the page to reinforce associations between poems, particularly with the use of facing pages, and to show where sequences begin and end. The evidence suggests that some of the poems act as internal structural markers to define sequences (for example, "The Altar" and "Easter-wings"), and that seven major sequences so defined organise the central section of The Temple, "The Church". Within some of these lie smaller sub-sequences sometimes overlapping one another, sometimes containing yet smaller clusters of poems. In some sequences the poems are sequentially arranged while in others the poems are scattered throughout the collection. A new dimension is added to the reading of each poem when read with an understanding, of its place within its sequence and within the larger work. The collection as a whole is organised around a number of organising images including the Old Testament tabernacle, the physical building and liturgy of the Church of England, the people of God, the individual believer, and the Bible. In the past, critics have argued the case for one organising image as opposed to other possibilities yet the fabric of The Temple is much richer than this and, in effect, layers of images exist simultaneously, informing and enriching one another. Herbert's careful ordering of The Temple is what one would expect given his training and the intellectual and religious climate in which he lived. An examination of seventeenth century ideas of structure explains why Herbert structured the collection as he did. Rhetorical structures and spatial concepts in memory training, emblematic and numerical structures, the structure of formal meditation and catechistical structures shaped Herbert's thinking and his ideas about form.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Faculty of Arts
Full Text
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Hodge, Anita Obermeier. „Handmaidens of God : the female figures Judith, Juliana, and Elene in Old English heroic poetry /“. View online, 1985. http://repository.eiu.edu/theses/docs/32211130497875.pdf.
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Barker, Simon John. „Probing the god-space : R.S. Thomas's poetry of religious experience, with special reference to Kierkegaard“. Thesis, University of Wales Trinity Saint David, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683109.
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17
Brewster, Richard. „'Unhappily in love with God' : conceptions of the divine in the poetry of Geoffrey Hill, Les Murray and R.S. Thomas“. Thesis, Durham University, 2002. http://etheses.dur.ac.uk/4120/.
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This thesis looks at the poetry of three markedly different contemporary poets, Geoffrey Hill, Les Murray and R. S. Thomas. They are linked by at least tacit belief in Christianity and the Christian world-view, and this belief shapes everything they write, whether explicitly 'religious' or otherwise. My focus throughout the thesis is on Hill, Murray and Thomas's differing conceptions of God, and my explorations of their poetic and religious stances take God as both their starting point and destination. The opening chapter is a general introduction to the possibilities of religious poetry in the modern world, before turning, in chapter two, to Hill, Murray and Thomas themselves and an identification of their religious concerns and sensibilities. The remaining thematic chapters concern themselves with Hill and Murray's explorations of suffering and evil, post-1945; the place of humour and laughter in the religious visions of Murray and Hill; Murray's remarkable sequence of animal poems, 'Presence'; and the figure of Christ in the poetry of Thomas. I conclude with a discussion of T. S. Eliot's misgivings concerning religious poetry, and how Hill, Murray and Thomas avoid writing the limited poetry he identifies. My method throughout is to base my discussion of these three poets on close readings of their individual poems.
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Foster, Hubert Wakefield. „Catullus' Attis counterfeit epic /“. Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5975.
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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 24, 2009) Vita. Includes bibliographical references.
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Acker, Elizabeth Anne. „God in the Darkness: Mysticism and Paradox in the Poetry of George Herbert and Henry Vaughan“. [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0720101-152602/unrestricted/ackera0808a.pdf.
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20
Williams, Molly K. „For God and Country: Scriptural Exegesis, Editorial Intervention, and Revolutionary Politics in First New England School Anthems“. University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1511862418359819.
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21
Alarabi, Nour. „A God of their own : religion in the poetry of Emily Brontë, Christina Rossetti and Constance Naden“. Thesis, University of Leicester, 2009. http://hdl.handle.net/2381/4795.
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This thesis aims to portray the different ways in which nineteenth-century women poets perceived God and religion, exemplified by the works of Emily Brontë, Christina Rossetti, and Constance Naden. From the 1960s onward, there have been considerable efforts to redefine Victorian women‘s spirituality, and to eliminate the ‘angel of the house‘ image that was attached to them by their male contemporaries. As a result, the works of many Victorian women poets have been revived and re-evaluated. Brontë and Rossetti have been the focus of many individual studies which have explored their religious orientations, mainly by identifying in their works the religious doctrines of the movements with which they were associated. In contrast, Constance Naden‘s status as an atheist scientist and a philosopher has made modern scholars overlook the representation of religion in her poetry. By focussing on the less familiar poems of Brontë (the Gondal poems) and Rossetti (the secular early poems), the thesis will offer a new interpretation of their relationship with God. This will not be based on a consideration of their religious beliefs but on the lack of them in their early works. The chapter on Naden, however, will demonstrate how her scientific training did not stop her from sympathizing with theists, and admiring prophets and mystics. The ultimate aim of the thesis will be to illustrate the individuality of these poets and the uniqueness of their thought. This will be achieved through a close analysis of the poems, with a minimal use of feminist and other literary theories. It will also demonstrate the problematic interpretations that may arise from associating these poets with one religious movement or one school of thought.
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Connolly, Margaret. „An edition of 'Contemplations of the dread and love of God'“. Thesis, University of St Andrews, 1991. http://hdl.handle.net/10023/2786.
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This thesis presents an edition of Contemplations of the Dread and Love of God, a late Middle English devotional prose text for which no critical edition is currently available. I have transcribed and collated the text from all sixteen extant manuscripts and the 1506 printed edition. An investigation of the errors and variants according to the classical method of textual criticism has yielded little in the way of conclusive results, and it has therefore not proved possible to construct a stemma of manuscripts from the corpus of evidence as it now exists. My edition therefore uses one manuscript (Maidstone MS Museum 6) as a base; I emend the text of Maidstone where necessary, and cite variants from all the other witnesses to show all differences of substance. A full critical apparatus is provided, comprising: the text with variants, textual notes and glossary. The introduction includes a full description of all the manuscripts and the two early printed editions, an outline of the methods of textual criticism applied and their results, and an explanation of the choice of base manuscript; information about the language of the Maidstone manuscript and the date of the text are also provided, as is an outline of my editorial principles. The thesis also contains two appendices. The first of these deals briefly with the twenty-two instances where individual chapters of Contemplations appear in other manuscript compilations; the second discusses the English and Latin prayers which follow the full text in some manuscripts.
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Vincent, Mark Anthony. „From Sinai to Jerusalem : a study of the Hebrew text of Psalm 68“. Thesis, Durham University, 2001. http://etheses.dur.ac.uk/1237/.
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This dissertation presents a study of one of the most difficult texts in the Psalter, Psalm 68. After an introduction setting out the distinctive features of my treatment and arguing for the need for a painstaking literary study, I divide my work into three sections. The first of these presents a translation with detailed notes on the text. The second explores this world of the text in more detail by examining the vocabulary of the Psalm (characterisation, semantic domains including geographical terms), its structural makeup (building from the smallest units to the largest), the central use and importance of intertextual connections, and the presence of ambiguity and `underdeterminacy'. I examine each of these as being of interest in their own right, but the ultimate purpose is to use them to deduce what a good reading of the Psalm might be and to cast light on its meaning(s) both to an original audience and to subsequenrt eaders.B y the end of this section I will have argued for a an `original' setting in the reigns of David or Solomon, one which is closely linked to the bringing of the ark to Zion and the building of the temple. My third section tackles the matter of writers and readers more explicitly. Although I shall have studied the text as one hitherto (since this is the only form in which we possess it), I now examine whether the Psalm `should' be seen as essentially a unity, and ask what can be known about its compositional history. I then turn to the question of dating, followed by a more explicit consideration of the implied audience of the text. Much work ha> been done on the possible cultic use of Psalm 68; I review this as part of my work on audience, before turning to the question of other readers in a final chapter. Although I shall have been primarily concerned with the initial meaning of Psalm 68 in the dissertation (for reasons of space), that chapter presents concluding reflections on the way in which the Psalm has been used subsequently and may sti'1 be used; I reflect on the continued power of the Psalm to speak through the centuries. Psalm 68 is indeed a complex text, but one which abundantly repays close reading and study, and one which is still fascinating, vivid, and arresting in the modern world.
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Thompson, Alison. „The Higher Learning“. Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1452180306.
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Sayuti, Najmah. „The concept of Allah as the highest God in pre-Islamic Arabia, a study of pre-Islamic Arabic religious poetry“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64191.pdf.
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de, Warrenne Waller Christopher Scott. „Distance and dealings between the Christian and God in the poetry of George Herbert : 'wilt thou meet arms with man?'“. Thesis, University of Bristol, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687448.
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This dissertation argues that George Herbert's poetry explores the theme of the Christian's distance from God and evaluates different paths that might overcome that distance. Herbert's explorations are informed by their historical context in which emerging secular learning and the post-Reformation culture unsettled traditional ideas about sacredness and access to the divine. A range of contemporaneous theological and spiritual discourses (especially those of Calvin and Perkins) that attempt to understand the Christian's dealing with God are analysed in the first chapter, where I contextualise Herbert's writing in relation to other Protestant articulations of religious experience - notably the experience of the Holy Spirit. I show how Herbert privileges the rite of the eucharist as an experiential path to God rather than the experience of the Holy Spirit in preaching celebrated by other Protestants. Chapter 2 examines the conceptual basis of God's remoteness: the metaphysical distinction between the material and the immaterial modes of being which underlies Herbert's vision of man composed of body and soul. Herbert's exploration of human agency reveals an ontological dualism under strain in his culture which was questioning its rational basis. Herbert does not seek rational solutions to these difficulties but literary resolutions. Chapter 3 highlights the manner in which Herbert's work evinces fears that Renaissance reason was too worldly in its orientation. By way of reaction, he attempts, not without ambivalence, to affirm the primacy of Christian faith as a path to God. I examine Herbert's use of Bible typology to reach God in Chapter 4. Despite typology's fruitful spiritual potential, it does not always bring sacred meaning or solace to The Temple's speakers. This failure is explained with reference, on the one hand, to the contemporaneous critical intellectual culture (particularly regarding Renaissance intellectuals' understanding of Scripture; an understanding that could challenge basic Christian teaching) and, on the other hand, to an underlying anxiety about the loss of certain features of pre-Reformation spirituality that formerly provided a sense of the proximity of the sacred. Herbert celebrates Scripture as a quasi-mystical means of approaching God but, again, not unambiguously. Chapter 5 discusses Herbert's language of rebellious complaints "about God's distance. Here I show how this language encroaches upon controversies about the sacred symbol of the cross, highlights the naivety of the worldview of the book of Job and spills over into the speaker's vociferous blaming of God for cruelly distancing Himself from pious Christians. The idea that Herbert's technique of writing God a voice is blasphemous (as maintained by some critics) is discussed in Chapter 6. I argue that this fictional device, which effectively brings God onto the page, does not constitute an offence to orthodoxy since Herbert's skilful use of divine speech often leads the speaker towards doctrinal correction rather than doctrinal deviation. Chapter 7 argues that Herbert's idea of the Church (a motif profoundly embedded in his poetic project)holds out the firmest promise for attaining divine proximity. For the Church to fulfil such a role it must be consensual and Conformist. But Herbert's consensualism does not exclude muted attacks on radical Protestants. His evocation of divine presence in the material church building feeds into his literary Temple which celebrates sacred space, sacred rites and sacred time. Yet even that Church-related access to God is has its limits.
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Auer, Benedict Auer Benedict. „Deus absconditus as muse : an approach to the writing of poetry as a form of contemplative prayer for those who live with the Hidden God /“. Dissertation abstract, 1992. http://homepages.stmartin.edu/fac%5Fstaff/auer/other/AbstractofDissertation.HTML.
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Price, Kenneth Robert 1962. „"Nobody knows, so still it flows"—The Discourse of Water in the Poetry of Emily Dickinson“. Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277904/.
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Emily Dickinson's use of water as a dominant poetic trope differs from typical religious archetypal associations with baptism, cleansing, and rebirth. Dickinson transforms rather than recapitulates established theological concepts, borrowing and adapting Biblical themes to suit her artistic purposes.
Dickinson's water poems are the poet's means of initiating a discourse with God. Dickinson's poems, however, portray the poet's seeking communion and finding only a silent response to her attempts to initiate an exchange with God. Unable to find requital to her needs for discourse, Dickinson uses Biblical imagery to vindicate ultimately abandoning the orthodox tenets of Calvinism.
Resenting the unresponsiveness of God, particularly if the solitude she experiences has been imposed through His will rather than her own, Dickinson poetically reverses roles with God to establish her autonomy, looking instead to the reader of her poetry to requite her need for discourse. And as interaction is seen as a need that Dickinson must have realized, poetry may then be understood as the poet's invitation of the reader into the discourse she finds lacking in God.
Refuting Calvinist doctrines allows the poet to validate her autonomy as well. Instead of following a course of life prescribed by God, Dickinson demonstrates her resistance to suppliance through water. Dickinson refuses to follow God's guidance unquestioningly because merely being part of a collective who follow an indifferent god provides no lasting distinction for a poet seeking immortality.
Having broken the union with God and established her god-like identity as a poet, Dickinson turns to the similar use of Biblical language in her poetry to establish the communion with her reader that she finds lacking in her relationship with God. Dickinson then strengthens this bond with the reader by asserting that divinity is present in every individual not suppressed by the restraining presence of God.
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Echols, Charles L. „The eclipse of God in the Song of Deborah (Judges 5) : the role of Yahweh in the light of heroic poetry“. Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614867.
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Berta, Katherine M. „To You“. Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1489768131826135.
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Winters, Sarah Fiona. „Me thoughts I heard one calling, talking to God in the poetry of John Donne, George Herbert, Christina Rossetti, and Gerard Manley Hopkins“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ50068.pdf.
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Kershaw, Alison. „The poetic of the Cosmic Christ in Thomas Traherne's 'The Kingdom of God'“. University of Western Australia. School of Social and Cultural Studies, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0085.
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[Truncated abstract] In this thesis I examine the poetics of Thomas Traherne’s often over-looked Christology through a reading of The Kingdom of God. This work, probably written in the early 1670s, was not discovered until 1997, and not published until 2005. To date, no extended studies of the work have been published. It is my argument that Traherne develops an expansive and energetic poetic expressive of the theme of the ‘Cosmic Christ’ in which Christ is understood to be the source, the sustaining life, cohesive bond, and redemptive goal, of the universe, and his body to encompass all things. While the term ‘Cosmic Christ’ is largely of 20th century origin, its application to Traherne is defended on the grounds that it describes not so much a modern theology, as an ancient theology rediscovered in the context of an expanding cosmology. Cosmic Christology lies, according to Joseph Sittler,“tightly enfolded in the Church’s innermost heart and memory,” and its unfolding in Traherne’s Kingdom of God is accomplished through the knitting together of an essentially Patristic and Pauline Christology with the discoveries and speculations of seventeenth century science: from the infinity of the universe to the workings of atoms. … The thesis concludes with a distillation of Traherne’s Christic poetic The Word Incarnate. The terms put forward by Cosmic Christology are used to explicate Traherne’s intrepid poetic. In his most remarkable passages, Traherne employs language not only as a rhetorical tool at the service of theological reasoning, but to directly body forth his sense of Christ at the centre of world and self. He promises to “rend the Vail” and to reveal “the secrets of the most holy place.” Scorning more “Timorous Spirits,” he undertakes to communicate and “consider it all.”
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Zanoni, Veronica. „The Poet and the God. Ovid, Tristia 3.1. Text, Translation and Commentary with an Introduction“. Doctoral thesis, Università degli studi di Padova, 2016. http://hdl.handle.net/11577/3421797.
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The author’s doctoral research resulted in a literary critical commentary on Ovid, Tristia 3.1, with an introduction, text, an English translation, and indexes. The commentary is in line with the most recent commentaries on other books of the Tristia and aims at elucidating some passages of difficult literary and topographical interpretation. Firstly, the literary misplacement of some of the monuments on the Palatine mentioned in the poem (the porta Mugonia and the temple of Jupiter Stator) fully complies with the assimilation of the figure of the princeps with that of Jupiter, which appears for the first time in Latin literature, precisely in the Tristia. Secondly, the sequence of the booklet’s arrival and request for help can be traced back to the gestural and verbal formulae of the traditional request for hospitium by a stranger: the handshake, the production of a letter of introduction, the presence of a seal or an object for identification. The correspondence of the booklet with a hospes exerting the ius hospitii may identify the conventional request for hospitium as a novel model to the composition of Tristia 3.1. Thirdly, the liguistic analysis of the poem led to an in-depth investigation of the specific vocabulary of the exile poetry in this elegy, identifying new terms and nuances, discussed in the commentary and listed in a dedicated index.
This commentary addresses the raising of literary and topographical issues, through a multidisciplinary approach which combines both the evaluatation of the literary sources with particular attention to the recent scholarly contributions, the diction, the metrics, the intratextual relationship with other works by Ovid and by other authors, and the discussion of the latest archaeological findings and their relevant topographical rearrangements.Il lavoro di ricerca si presenta quale commento critico-letterario a Ovidio, Tristia 3.1, corredato di un’introduzione, di testo critico con traduzione in inglese, e di indici analitici. Lo studio si inserisce nel quadro dei più recenti commenti esegetici di altri libri dei Tristia e tenta di chiarire alcuni passi di difficile interpretazione topografica e poetica. In primo luogo, la trasposizione letteraria di alcuni monumenti sul Palatino (la porta Mugonia e il tempio di Giove Statore) è riferibile all’assimilazione della figura del princeps a quella di Giove, la cui prima attestazione si ha proprio nei Tristia. In secondo luogo, l’arrivo del libello a Roma e la sua richiesta di aiuto si articolano secondo formule gestuali e verbali del tutto simili a quelle che esprimevano la richiesta di ospitalità da parte di uno straniero: la stretta di mano, la presentazione di una lettera accompagnatoria, la presenza di un sigillo o di un oggetto di riconoscimento. La corrispondenza del libello con un hospes che esercita lo ius hospitii farebbe intravedere nella richiesta di hospitium un nuovo modello per la composizione di Tristia 3.1. L’analisi filologico-letteraria ha dato esito a un approfondimento del lessico specifico della poesia dell’esilio presente nell’elegia, individuando nuovi termini speciali e accezioni. Data la rilevanza letteraria e topografica dell’elegia, il commento si caratterizza per un approccio multidisciplinare filologico-letterario e storico-archeologico, che valuta al contempo le fonti letterarie – con particolare attenzione ai contributi della critica, all’uso dei termini, delle locuzioni, della metrica, al rapporto con le altre opere ovidiane e di altri autori – e gli ultimi ritrovamenti archeologici con le relative ricostruzioni topografiche.
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Soud, William David. „Toward a divinised poetics : God, self, and poeisis in W.B. Yeats, David Jones, and T.S. Eliot“. Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:331a692d-a40c-4d30-a05b-f0d224eb0055.
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This thesis examines the traces of theological and broader religious discourses in selected works of three major twentieth-century poets. Each of the texts examined in this thesis encodes within its poetics a distinct, theologically derived conception of the ontological status of the self in relation to the Absolute. Yeats primarily envisions the relation as one of essential identity, Jones regards it as defined by alterity, and Eliot depicts it as dialectical and paradoxical. Critics have underestimated the impact on Yeats’s late work of his final and most sustained engagement with Indic traditions, which issued from his friendship and collaboration with Shri Purohit Swami. Though Yeats projected Theosophical notions on the Indic texts and traditions he studied with Purohit, he successfully incorporated principles of Classical Yoga and Tantra into his later poetry. Much of Yeats’s late poetics reflects his struggle to situate the individuated self ontologically in light of traditions that devalue that self in favor of an impersonal, cosmic subjectivity. David Jones’s The Anathemata encodes a religious position opposed to that of Yeats. For Jones, a devout Roman Catholic committed to the bodily, God is Wholly Other. The self is fallen and circumscribed, and must connect with the divine chiefly through the mediation of the sacraments. In The Anathemata, the poet functions as a kind of lay priest attempting sacramentally to recuperate sacred signs. Because, according to Jones’s exoteric theology, the self must love God through fellow creatures, The Anathemata is not only circular, forming a verbal templum around the Cross; it is also built of massive, rich elaborations of creaturely detail, including highly embroidered and historicized voices and discourses. Critics have long noted the influence of Christian mystical texts on Eliot’s Four Quartets, but some have also detected a countercurrent within the later three Quartets, one that resists the timeless even as the poem valorizes transcending time. This tension, central to Four Quartets, reflects Eliot’s engagement with the dialectical theology of Karl Barth. Eliot’s deployment of paradox and negation does not merely echo the apophatic theology of the mystical texts that figure in the poem; it also reflects the discursive strategies of Barth’s theology. The self in Four Quartets is dialectical and paradoxical: suspended between time and eternity, it can transcend its own finitude only by embracing it.
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Toulze, Thierry. „Le sacrifice comique de Valère Novarina : étude rhétorique de la période 1975-2010“. Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20093/document.
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Comique, tonique, rythmée, inventive, chaotique, esthétique et parfaitement incompréhensible, la langue de Valère Novarina est ici considérée sur un plan formel. A travers une description panoramique et nuancée de l’arsenal rhétorique novarinien, cette thèse se propose d’établir un bilan complet du travail accompli jusqu’à présent par le dramaturge. Une recension systématique des figures de style les plus récurrentes se présente, universitairement parlant, comme une des façons d’explorer ce nouveau continent. S’il y a rupture, il y a aussi reconduction de traditions parfois très anciennes (farce, carnaval, mystère), ce qui n’empêche pas Novarina d’être au cœur de la modernité. Les pièces mises en avant le sont en fonction de l’aspect formel étudié : retravail de la matière biblique, critique des medias et des institutions, tribut payé à Shakespeare, cirque, nourriture, vide, kénôse, « pantinité », etc. En somme, cette étude se propose d’atteindre les objectifs suivants : montrer la fantastique diversité rhétorique de ce théâtre et braquer les projecteurs sur sa dimension comique, aller sur des pistes peu explorées pour l’instant (sport, bestiaire, « logodynamique », science-fiction, taoïsme, enfance, pataphysique, correspondances avec Lewis Carroll), dresser une cartographie de cet imaginaire labyrinthique, fixer un cadre de travail en semant des cailloux à la manière du Petit Poucet, essayer de définir l’adjectif « novarinien » et toucher du doigt le mystère de cette œuvre-sphinx en faisant nôtre un des cris de guerre du démiurge : « Ce dont on ne peut pas parler, c’est cela qu’il faut dire »At once comic, tonic, rhythmic, inventive, chaotic, aesthetic and utterly incomprehensible, the language used by Novarina is here considered on a formal level. Through a panoramic and subtle description of the rhetorical “Novarinian” arsenal, this work intends to establish a comprehensive evaluation of the work the playwright has done to this day. A systematic study of the most recurrent figures of speech amounts to exploring this new domain ; if there is novelty, there is also a subtle reneval of age-old traditions (farce, carnival, mystery) which does not prevent Novarina from being at the very heart of modernity. The plays will be selected and put forward according to the formal aspect studied : variations on biblical themes, critical of the media and other institutions, tribute to Shakespeare, circus, food, emptiness, kénôse, “pantinity”, etc. In sum, this study aims to achieve the following objectives : emphasizing the incredible rhetorical variety found in this plays and highlighting their comic dimension, finding new ways of exploring Novarina works (sport, bestiary, “logodynamic”, science-fiction, Taoism, childhood, Pataphysic, connections with Lewis Carroll), mapping this labyrinthine imagination, setting up a work-structure and marking out the path with pebbles as did Tom Thumb, attempting to define the adjective “Novarinian” and trying to explore the mystery of his sphinx-like work, accepting as our own one of the demiurge’s war cries : “What we cannot speak about, is precisely what we must say”
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Souza, Luciane Noronha do Amaral de. „O sagrado como busca em Poemas malditos, gozosos e devotos, de Hilda Hilst /“. São José do Rio Preto : [s.n.], 2008. http://hdl.handle.net/11449/94185.
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Orientador: Susanna BusatoBanca: Antonio Alcir Bernardez Pécora
Banca: Marcos antonio Siscar
Resumo: Este trabalho desenvolve uma análise sobre o livro Poemas malditos, gozosos e devotos (1984) da escritora paulista Hilda Hilst (1930-2004). Para tanto, realiza-se um estudo da busca devota, maldita e gozosa empreendida pelo sujeito poemático no intuito de obter o conhecimento de si mesmo e do sagrado representado pela idéia de Deus. Nas análises dos poemas, procura-se desvelar o modo como essa tentativa de relação do eu frente ao objeto é construída através da linguagem a partir da tensão instituída entre busca/distanciamento e carne/espírito, uma vez que nos poemas Deus é o amante desejado, mas completamente distante e alheio aos apelos de quem o busca ininterrupta e sacrificialmente.
Abstract: The aim of this work is to analyze the book Poemas malditos, gozosos e devotos (1984) of the Brazilian writer Hilda Hilst (1930 - 2004). The study searches the devoted, cursed and joyful search done by the subject in the poem who aims to obtain the knowledge about himself and about the sacred, represented by the idea of God. In the analyses of the poems it is unveiled the way that this attempt of relationship of "I" facing the object is constructed through the language, from the tension between search and distance and between flesh and spirit, given that in the poems God is the desired lover, but is completely distant and ignores the cries of those who search Him interruptedly and with sacrifice.
Mestre
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Souza, Luciane Noronha do Amaral de [UNESP]. „O sagrado como busca em Poemas malditos, gozosos e devotos, de Hilda Hilst“. Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/94185.
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souza_lna_me_sjrp.pdf: 459476 bytes, checksum: 8ef7ff93bc4e74ea26fc38076128ba2e (MD5)Este trabalho desenvolve uma análise sobre o livro Poemas malditos, gozosos e devotos (1984) da escritora paulista Hilda Hilst (1930-2004). Para tanto, realiza-se um estudo da busca devota, maldita e gozosa empreendida pelo sujeito poemático no intuito de obter o conhecimento de si mesmo e do sagrado representado pela idéia de Deus. Nas análises dos poemas, procura-se desvelar o modo como essa tentativa de relação do eu frente ao objeto é construída através da linguagem a partir da tensão instituída entre busca/distanciamento e carne/espírito, uma vez que nos poemas Deus é o amante desejado, mas completamente distante e alheio aos apelos de quem o busca ininterrupta e sacrificialmente.
The aim of this work is to analyze the book Poemas malditos, gozosos e devotos (1984) of the Brazilian writer Hilda Hilst (1930 – 2004). The study searches the devoted, cursed and joyful search done by the subject in the poem who aims to obtain the knowledge about himself and about the sacred, represented by the idea of God. In the analyses of the poems it is unveiled the way that this attempt of relationship of “I” facing the object is constructed through the language, from the tension between search and distance and between flesh and spirit, given that in the poems God is the desired lover, but is completely distant and ignores the cries of those who search Him interruptedly and with sacrifice.
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Suave, Tonyglei. „Onde está o teu Deus? um estudo exegético dos Salmos 42 43“. Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/18310.
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Previous issue date: 2012-05-30The objective of this dissertation is to present an exegetic study of a biblical poem: Psalm 42 43. This undertaking is justified in the measure that the search for the original meaning of a text which is inspired by God and is the bearer of a universal message of salvation can favor reflection on one of the problems that most disturbs the human conscience: human suffering and faith in a God who is omnipotent and filled with benevolence. Due to the particular position of this poem [at the start of the section of the Psalter which proportionally speaks most of human suffering] and certain stylistic traces [the striking comparison at the beginning of the poem; the name of God mentioned 22 times; the tetragram in the middle of it to call attention to a particular attitude of the person praying] this research has as a hypothesis that these Psalms throw some light on the subject of God s presence in the lives of people who suffer. In the style of commentary, the research continues following the steps of synchronic analysis with some reference to diachronic analysis when necessary. It analyzing the literary beauty and certain cultural, historical and theological aspects of one of the sacred texts which was chosen as a model of prayer for Israel because it deals with one of the vital problems of the human being in a realistic and beautiful manner. As a result of this work five essential elements were discovered which appear to contribute towards reflection on the presence of God next to the suffering human person: 1) the importance of trust in God; 2) how the presence of God appears to be experienced as absence; 3) worship as a privileged manner of communication and communion with God; 4) the misunderstanding of God as one of the causes of the difficulty to deal with suffering; 5) confining the presence of God to only the Temple in Jerusalem as a theological limitation of this poem
A presente dissertação tem como objetivo apresentar um estudo exegético de um poema bíblico: Sl 42 43. Tal empreendimento se justifica na medida em que a busca pelo sentido original de um texto, que foi inspirado por Deus e é portador de uma mensagem universal de salvação, possa favorecer a reflexão sobre um dos problemas que mais perturba a consciência humana: o sofrimento humano e a crença em um Deus cheio de bondade e onipotente. Dada a singular posição deste poema encabeça a parte do Saltério que, proporcionalmente, mais fala de sofrimento humano e certos indícios estilísticos a impactante comparação no início do poema, o nome de Deus citado 22 vezes, o tetragrama no centro do poema para chamar a atenção a uma determinada atitude do orante esta pesquisa tem como hipótese que estes Salmos lançam alguma luz sobre a questão da presença de Deus junto ao ser humano sofredor. No estilo de comentário, a pesquisa avança seguindo os passos de uma análise sincrônica com acenos à diacronia, quando necessário, analisando a beleza literária e certos aspectos culturais, históricos e teológicos de um dos textos sagrados que foi escolhido como modelo de oração para Israel por ele tratar de um dos problemas vitais do ser humano de maneira realista e bela. Como resultado deste trabalho foram encontrados cinco elementos essenciais que parecem contribuir na reflexão sobre a presença de Deus junto ao ser humano que sofre, a saber: 1) a importância da confiança em Deus; 2) o modo da presença de Deus parece ser sua ausência sentida; 3) o culto como uma maneira privilegiada de comunicação e comunhão com Deus; 4) a incompreensão de Deus como uma das causas da dificuldade de se lidar com o sofrimento; 5) o confinamento da presença de Deus apenas ao Templo de Jerusalém como uma limitação teológica deste poema
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Lavelle, William H. „Revolutionary Satan: A Reevaluation of the Devil's Place in Paradise Lost“. Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429893486.
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Lopes, Alan Marinho. „O entardecer de uma era: t?cnica, poesia e pensamento em Heidegger“. Universidade Federal do Rio Grande do Norte, 2010. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16492.
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Previous issue date: 2010-04-15Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior
The thinking dialog between Heidegger s philosophy and the poetry of H?lderlin and Rilke must be dealt in language s domains. The difficulty to establish this dialog comes from the man in itself, unable to think out of the understructure of science and the modern technique. The poetic language was forgotten or ignored, turning itself obsolete in front of improvements and resources of the technique. Heidegger searches the essences to the poetry so may it be comprehended in its plenitude for the man. Technique, poetry and existence must be pronounced and investigated so the being shows itself again. To Heidegger, the man lives in a period of uncertainty due finding himself at the sunset of age. The uncertainty generates the poverty and the night of world represents the absence of god and original truth. Only with the fundamental comprehension of poetry, the man of today can project himself to the future not anymore as technique product, but with freedom to choose. The message of poetry of H?lderlin and Rilke, according to Heidegger s interpretation, transmits an alert to the contemporary man against the coming danger in his maintained relation with nature. The purpose of the following work is to build this thinking dialog, without disfigure the poetry, but taking approach over its essence, so from there to remove its true existential value.
O di?logo pensante entre a filosofia de Heidegger e a poesia de H?lderlin e Rilke deve ser travado nos dom?nios da linguagem. A dificuldade em estabelecer esse di?logo vem do pr?prio homem, incapaz de pensar fora do arcabou?o da ci?ncia e da t?cnica moderna. A linguagem po?tica foi esquecida ou ignorada, tornando-se obsoleta diante das facilidades e recursos da t?cnica. Heidegger busca as ess?ncias para que a poesia possa ser compreendida em sua plenitude pelo homem. T?cnica, poesia e exist?ncia devem ser pronunciadas e investigadas para que o ser se apresente novamente. Para Heidegger, o homem vive em um per?odo de incertezas por se encontrar no entardecer de uma era (Sunset of Age). A incerteza gera a pen?ria e a noite do mundo representa a aus?ncia de Deus e das verdades origin?rias. Apenas com a compreens?o fundamental da poesia, o homem de hoje pode se projetar ao futuro n?o mais como produto da t?cnica, mas com liberdade para escolher. A mensagem da poesia de H?lderlin e Rilke, segundo a interpreta??o de Heidegger, transmite um alerta ao homem contempor?neo acerca do perigo vigente na rela??o que ele mant?m com a natureza. O objetivo do seguinte trabalho ? construir esse di?logo pensante, sem desfigurar a poesia, mas indo de encontro ? sua ess?ncia, para de l? retirar seu verdadeiro valor existencial.
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Petrella, Bernardo Ballesteros. „Divine assemblies in early Greek and Mesopotamian narrative poetry“. Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:cfd1affe-f74b-48c5-98db-aba832a7dce8.
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This thesis charts divine assembly scenes in ancient Mesopotamian narrative poetry and the early Greek hexameter corpus, and aims to contribute to a cross-cultural comparison in terms of literary systems. The recurrent scene of the divine gathering is shown to underpin the construction of small- and large-scale compositions in both the Sumero-Akkadian and early Greek traditions. Parts 1 and 2 treat each corpus in turn, reflecting a methodological concern to assess the comparanda within their own context first. Part 1 (Chapters 1-4) examines Sumerian narrative poems, and the Akkadian narratives Atra-hsīs, Anzû, Enûma eliš, Erra and Išum and the Epic of Gilgameš. Part 2 (Chapters 5-8) considers Homer's Iliad, the Odyssey, the Homeric Hymns and Hesiod's Theogony. The comparative approaches in Part 3 are developed in two chapters (9-10). Chapter 9 offers a detailed comparison of this typical scene's poetic morphology and compositional purpose. Relevant techniques and effects, a function of the aural reception of literature, are shown to overlap to a considerable degree. Although the Greeks are unlikely to have taken over the feature from the Near East, it is suggested that the Greek divine assembly is not to be detached form a Near Eastern context. Because the shared elements are profoundly embedded in the Greek orally-derived poetic tradition, it is possible to envisage a long-term process of oral contact and communication fostered by common structures. Chapter 10 turns to a comparison of the literary pantheon: a focus on the organisation of divine prerogatives and the chief god figures illuminates culture-specific differences which can be related to historical socio-political conditions. Thus, this thesis seeks to enhance our understanding of the representation of the gods in Mesopotamian poetry and early Greek epic, and develops a systemic approach to questions of transmission and cultural appreciation.
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Lindeen, Karilyn. „Walt Whitman and the American Civil War: from Wound Dresser to Good Gray Poet“. Thesis, Kansas State University, 2016. http://hdl.handle.net/2097/32590.
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Master of ArtsDepartment of History
Charles W. Sanders, Jr.
Today, Walt Whitman is considered a famous nineteenth-century American poet. At the outbreak of the American Civil War however, he was underrated and underappreciated by American readers. Three editions of his book of poetry, Leaves of Grass, were not received well by American readers and his future in writing looked bleak. This was despite the fact that Whitman’s literary friend, Ralph Waldo Emerson, wrote an encouraging review of the first edition, which Whitman included in the second and third iterations. Ironically, Whitman’s career made a turn for the better when his brother, George Washington Whitman, was reported to be among the wounded or killed in the Battle of Fredericksburg on December 13, 1862. A dedicated family man, Whitman immediately boarded a train in New York and headed for Falmouth, Virginia, to check on his brother’s wellbeing. Whitman visited several makeshift hospitals before coming across Chatham Mansion, the temporary Union Hospital Headquarters. He saw at the base of a tree a pile of human limbs that had been tossed out of a first floor window following amputations. The scene was horrific and he paused to record what he saw in his diary. This experience forever changed Whitman the man and Whitman the poet and the transformation was evident in his subsequent writing, as Whitman first took on the persona of what I have designated as the Wound Dresser and years after the war the Good Gray Poet. This evolution changed the public perception of Whitman, and it occurred in phases. The initial phase was before the war, his work was considered obscene among American society due to his previous publications. The second transformation in Whitman was initiated by fear of personal loss when his brother was listed among the wounded and dead at Fredericksburg and the sight of the amputated limbs at Chatham Mansion. Had Whitman been exposed to the war slowly over time, the effect might not have been so profound, but Chatham was an earth shattering event in his life, as he admitted. The third phase was the result of daily exposure for years to the wounded and dying in the hospitals. He developed a personal connection with the men and was determined to stay with them, despite direct orders from hospital doctors that he should return home for his own physical and emotional recovery. His experience in the hospitals had transformed from a middle aged healthy man to a frail and brittle shell, evident in photographs of him during these years. The final phase was marked by the transformation in his writing. It was in this phase that Whitman created the most memorable and remarkable Civil War poetry that is still celebrated today. It was this poetry that caused American’s to revere him as the “Good Gray Poet.”
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Brown, Adam. „A study of gold in early Greek poetry : from Homer to Bacchylides“. Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260109.
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Lisboa, Emmanuel Gonçalves Guimarães. „Deus e o Diabo na Alcova: uma leitura do sonetário de Glauco Mattoso em busca das presenças poéticas de Deus e do Diabo“. Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/2151.
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Previous issue date: 2010-05-27The following work treats about God's images in the contemporary poetry. Thereunto, we have selected Glauco Mattoso, a native of São Paulo poet who passes through several faces of the recent brazilian poetry. Of his vast production, we analyze, in this work, only the sonnets, without a cutting of composition or phase - we worry about the presence of God in his sonnets collection. To do so, we have read, written up and cataloged three thousand sonnets, and twenty-nine of them found the presence of God with real meaning to the content. However, we have analyzed carefully only a small part of these sonnets. For the analysis, we have anchored on the concepts of literary criticism coming from Iumna Maria Simon and Vinicius Dantas, the reflections of Hugo Friederich, and on sociological relationships of men with God studies, by Roger Bastide. The work is divided into three chapters. The first, "Um exercício de história" (A History Exercise), tries to situate the contemporary Brazilian poetry and insert Glauco Mattoso in this scenario. Also in this chapter, relevant and influential artists appear in Glauco's literary education and in the formation of pornographic and accursed tradition of portuguese language. The second chapter, "De onde vem e como vemos" (Whence it comes and how we see it), is the theoretical framework we use to read Glauco's poetry. Initially, we present Iumna Maria Simon's and Vinícius Dantas's theories, and then Hugo Friederich's. After that, these concepts are applied separately in some Glauco's poems with a distinct theme from the one we have investigated. Finally, we discuss the sociological categories defined by Roger Bastide. In the last chapter, the poems are analyzed following four different categories, but similar with regard to the theme. We ascertain the poems in it's interpretation about the divine figure, the poems in which God acts, or is claimed to act in the political, egocentric, and reversal horizons. Throughout the work, we try to understand the ways how the divine figure is treated in Glauco's poetry, and by extension, we try to point out the relations of man and God in today's society
O trabalho que ora se apresenta versa sobre a presença das imagens de Deus na poesia contemporânea. Para tanto selecionamos Glauco Mattoso, poeta paulistano que passa por diversas fases da recente poesia brasileira. Em sua vasta produção analisamos neste trabalho apenas os sonetos, sem um recorte de obra, ou de fase preocupamo-nos com a presença de Deus em seu sonetário. Para tanto, foram lidos, fichados e catalogados três mil sonetos e em vinte e nove deles encontramos a presença de Deus com real significado para o conteúdo. Porém analisamos com cuidado apenas uma pequena parte desses sonetos. Para a análise, nos ancoramos sobre os conceitos de crítica literária oriundos de Iumna Maria Simon e Vinícius Dantas e das reflexões de Hugo Friederich. E sobre os estudos acerca das relações sociológicas do homem com Deus de Roger Bastide. O trabalho esta dividido em três capítulos. No primeiro Um exercício de história tentamos situar a poesia contemporânea brasileira e inserir Glauco Mattoso nesse cenário. Aparecem, também, nesse capítulo artistas influentes e relevantes na formação literária de Glauco e da tradição maldita e pornográfica em língua portuguesa. O segundo capítulo De onde vem, e como vemos trata do arcabouço teórico que utilizamos para ler a poesia de Glauco. Inicialmente são apresentadas as teorias de Iumna Maria Simon e de Vinícius Dantas e depois as de Hugo Friederich. Na sequência esses conceitos são aplicados separadamente em poemas de Glauco com temática distinta da que investigamos. Por fim tratamos das categorias sociológicas definidas por Roger Bastide. No último capítulo analisamos os poemas seguindo quatro categorias distintas, mas próximas na temática. Averiguamos os poemas em sua Interpretação acerca da figura divina, os poemas em que Deus age, ou é clamado a agir no horizonte político, os egocêntricos e os inversivos. Ao longo do trabalho buscamos compreender as formas como a figura divina é tratada na poética de Glauco e por extensão tentamos apontar as relações do homem e Deus na sociedade atual
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Ramstetter, Anthony F. Jr. „Small Gods & Orbital Bodies: A Thesis“. Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1371567335.
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Sharper, Donna C. „Llamadas para la liberación en los salmos de Ernesto Cardenal“. University of Toledo / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1481326494397004.
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Tricker, Tim. „The animal poetry of Ted Hughes“. Thesis, University of Aberdeen, 2001. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU148149.
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The thesis concerns itself with the animal poetry of Ted Hughes. It traces, in a chronological structure, the development of how Hughes uses animals in his work, identifying four different phases in his writing. This is mainly done through close textural analysis. The introduction contextualises Hughes in relation to animal poetry and gives a broad overview of the four sections of the thesis. Section I examines the first three volumes of Hughes's career: The Hawk in the Rain, Lupercal and Wodwo. The issues of violence in his work, and how he uses animals poetically to imply a critique of the human realm, are addressed. This section also examines Hughes's early work for children. Section II discusses Hughes's mytho-poetic ventures of the 1970s: Crow, Prometheus on his Crag and Cave Birds. It is shown that Hughes moves away from the primitivism of the real, observable animal world and seeks to present his creatures in a mythological framework. Section III shows that from the mid-1790s Hughes was writing animal poetry of a different nature, presenting creatures in a domestic or natural environment, exploring their various relationships with man, and that this was the way his work developed throughout the 1980s. The volumes discussed are Season Songs, Moortown, Remains of Elmet, River, Flowers and Insects and Wolfwatching. Section IV examines how, in the 1990s until the end of his life, Hughes moved back to a mythological treatment of animals in his work, either in an emblematic way (as in his Laureate verse in Rain-Charm for the Duchy), or as a unifying principle (as in his analysis of the works of Shakespeare and Coleridge). This treatment is seen to culminate in the poetry of Tales from Ovid. There are some final thoughts on the animal imagery Hughes uses in Birthday Letters.
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Cooper, Sarah Elizabeth Mary. „Re-connecting the spirit : Jamaican women poets and writers' approaches to spirituality and God“. Thesis, University of Birmingham, 2005. http://etheses.bham.ac.uk//id/eprint/5427/.
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Chapter One asks whether Christianity and religion have been re-defined in the Jamaican context. The definitions of spirituality and mysticism, particularly as defined by Lartey are given and reasons for using these definitions. Chapter Two examines history and the Caribbean religious experience. It analyses theory and reflects on the Caribbean difference. The role that literary forefathers and foremothers have played in defining the writers about whom my research is concerned is examined in Chapter Three, as are some of their selected works. Chapter Four reflects on the work of Lorna Goodison, asks how she has defined God whether within a Christian or African framework. In contrast Olive Senior appears to view Christianity as oppressive and this is examined in Chapter Five. Chapter Six looks at the ways in which Erna Brodber re-connects the spirit. Chapter Seven regards the spiritually joyful God of Jean 'Binta' Breeze. Conclusions are then drawn as to whether writers have adapted a God to the Jamaican context, whether they have re-connected to the spirit and if it is true that Jamaica is a spiritual nation.
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Robinson, Roger James. „The poetry of James Beattie : a critical edition“. Thesis, University of Aberdeen, 1997. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU097201.
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James Beattie (1735-1803) strongly influenced later poets, particularly Wordsworth and the Romantics, but there has previously been no complete or critical edition of his poetry. A search has been made in manuscripts, periodicals, and poem collections for all poems written by Beattie, and the texts which had his authority have been identified and collated. A full bibliographic list of authorized publications and texts has been compiled, and also of unauthorized editions in Beattie's lifetime. The corpus of poetry has been substantially enlarged, mow comprising The Minstrel and eighty-four other poems. Twenty-nine poems appear here for the first time as Beattie's compositions; most are from previously unpublished manuscripts, but some are poems published anonymously in Beattie's lifetime, and now shown to be his. Thirteen other previously uncollected poems are included, and a small number of uncertain authorship. The dates of composition of nearly all the poems have been established, and they are, for the first time, arranged in chronological order of composition. Beattie usually revised each poem substantially before publication or republication. Many poems therefore exist in several different versions, and are represented as parallel texts. Some revisions reflected a changed intention concerning the general meaning of the poem, but most were 'corrections', aimed at poetic refinement, and later at simplicity of diction. Information is provided on the historical, biographical and social background of the poems, and on their composition, the most important source being over two thousand manuscript letters, mostly previously unpublished. The relevant parts of these are transcribed. They also clarify Beattie's dealings with the book trade. A number of his poems were written as songs; the music has been identified and is reproduced. The Minstrel was Beattie's most influential poem, and remains the outstanding one in the expanded and rearranged corpus: new information is given about its origins, composition and publication.
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Dornan, R. Stephen. „Irish and Scottish poetry in the Romantic era“. Thesis, University of Aberdeen, 2006. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU218222.
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Ireland and Scotland witnessed a huge explosion in the publication of printed verse in the Romantic era as a plethora of poets ventured into print in the wake of Robert Burn's Kilmarnock edition. They produced an interesting and diverse, yet largely neglected, body of verse which is characterised by aesthetic, stylistic and linguistic variety. A re-evaluation of this body of literature casts new light on the interconnections between Scottish and Irish literary traditions. The links between Irish and Scottish poets and contemporise and predecessors from other parts of the archipelago, and their involvement in wider literary trends, also suggests that Romanticism could be re-configured as an archipelagic phenomenon. There were certainly potent Hiberno-Scottish links during this period as is demonstrated by the work of Thomas Dermody and James Orr, who were profoundly influenced by Burns. This thesis identifies and studies a series of inter-connected genres that achieved a particular resonance in Ireland and Scotland during the Romantic era. The New Year poem, the apparition poem, the valediction, the self-elegy, the graveyard meditation, the Habbie elegy and dying words all draw on the motif of loss and all become conspicuous features of the literary terrain. The use of genre as an organising paradigm means that a wide range of texts can be discussed and a sense of the variety of aesthetic and stylistic approaches adopted by Irish and Scottish poets of the period can be conveyed. By employing comparative paradigms and organising the study by genre, national barriers can be transcended and Ireland and Scotland's interwoven literary histories are thrown into sharp focus. These genres demonstrate the agreements and divergences that characterise Irish and Scottish literature of the Romantic era. Several of them demonstrate the traditionally overlooked influence of Scottish literature, and in particular the poetry of Burns on Irish poets. Other genres, meanwhile, demonstrate that contrasting historical, political and cultural contexts could manifest themselves in divergences in the way the genres were manipulated in Ireland and Scotland.