Dissertationen zum Thema „Heaven – poetry“
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1
Butts, Anthony. „Little low heaven /“. free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9962506.
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2
Huddleston, Clarity. „History, Power, and Meaning: Refusing Heaven and Jack Gilbert's Poetic Career“. Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1117.
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3
Kartsonis, Ariana-Sophia M. „Teatime in Heaven with the Crazy Ladies“. University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1227275015.
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4
Williams, Kirsty. „Structures of belonging : the poetry of Seamus Heaney“. Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/1748/.
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This thesis is divided into three parts – Word, Body and Transubstantiation. Collectively these are the central motifs of Catholicism’s Eucharist. According to Scripture, Christ is the word made flesh. The Eucharist recalls his words and actions at the Last Supper when he shares bread and wine with his disciples and tells them that they are his body and blood. In the Catholic faith partaking of wine and bread during the communion of mass is believed to be a partaking of the real presence of Christ. By consuming the body (bread) and blood (wine) of Christ, the participating community symbolise their collective belonging in and to Christ. The Catholic Eucharist consequently explodes difference in a utopic leap of faith whereby transubstantiation conflates and reconciles language and physical being, sub specie eternitatis. Whilst it is a religious formation, a relationship between word and body and their overlap also maps into preoccupations in recent philosophical and cultural theory which bear on Seamus Heaney’s poetry. Rather than converging word and body through a utopic leap of faith (transubstantiation), poststructuralism (following Saussure) posits an irreconcilable interstice between signifier and signified and (in the language of Derrida) infinitely defers meaning. Psychoanalysis (following Lacan) suggests desire is a consequence of the space between signifier and signified. Anthropological and sociological body theories (following Foucault) propose a disparity between corporeality and discursive constructions of bodies. Questions of a persistent gap in secular philosophy are therefore opposed to a sacred structure (converging word and body in a utopic leap of faith) that is most clearly marked and symbolised in the Catholic Eucharist. By appropriating this religious structure and these cultural theories, an ongoing secularisation of belonging in Heaney’s poetry emerges.
5
Tyler, Meg. „A singing contest : conventions of sound in the poetry of Seamus Heaney /“. New York : Routledge, 2005. http://catalogue.bnf.fr/ark:/12148/cb40061119n.
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6
Fulford, Sarah. „Gendered spaces in contemporary Irish poetry“. Thesis, University of Kent, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298598.
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7
Broom, Sarah. „Inhabitable mythologies : myth in contemporary Irish poetry“. Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302587.
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8
Johnson, Don. „More Than Heavy Rain“. Digital Commons @ East Tennessee State University, 2014. http://amzn.com/1937875571.
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More Than Heavy Rain brings together poems of intense observation culled from a life lived mostly outside. Set mostly around the poet’s home along the Watauga River in northeast Tennessee, the poems also reach out to such distant locations as Montana, Alaska, and post-war Germany. Some of them reconstruct the poet’s childhood in rural West Virginia. Some examine his family history, the events and relatives who helped determine the way he views the world.https://dc.etsu.edu/etsu_books/1044/thumbnail.jpg
9
Sinner, Alain Thomas Yvon. „'Protective colouring' : the political commitment in the poetry of Seamus Heaney“. Thesis, University of Hull, 1988. http://hydra.hull.ac.uk/resources/hull:3154.
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10
Madden, P. S. „The Seamus Heaney Centre digital archive : the public performance of poetry“. Thesis, Queen's University Belfast, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546384.
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11
Ranne, Katriina. „Heavenly drops: the image of water in traditional Islamic Swahili poetry“. Swahili Forum 17 (2010), S. 58-81, 2010. https://ul.qucosa.de/id/qucosa%3A11479.
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Iba Ndiaye Diadji, a Senegalese professor of aesthetics, sees water as intrinsic to African ontology. He also argues that water is the most important substance to inspire African artists. (Diadji 2003: 273–275.) Water certainly has a significant role in Swahili poetry, written traditionally by people living on the coast of the Indian Ocean. Swahili poems have used aquatic imagery in expressing different ideas and sensations, in different contexts and times. Water imagery can be found in hundreds of years old Islamic hymns as well as in political poetry written during the colonial German East Africa. This article discusses water imagery in traditional Islamic Swahili poetry.
12
Prince, Charles Weston. „Resonant forms, architecture in the poetry of Seamus Heaney and Derek Walcott“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ49886.pdf.
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13
Nice, Laura. „Place and memory in the poetry of Michael Longley and Seamus Heaney“. Thesis, University of York, 2005. http://etheses.whiterose.ac.uk/10962/.
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14
Piavanini, Joanne Marie. „The Poetics of Memory – The Public Role of Seamus Heaney after 1995“. Phd thesis, Canberra, ACT : The Australian National University, 2017. http://hdl.handle.net/1885/133755.
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This thesis deals with what it means to be a
‘public’ poet in national and transnational contexts. Because
Seamus Heaney’s ‘Irishness’ has shaped the critical
response to his work, what has been effaced is detailed critical
attention to the interplay between the national and transnational
dimensions of his poetry. What is most evident in his later work
is a type of border-crossing transcultural solidarity, and an
openness to alternate views and other cultures becomes
increasingly important. To speak of Heaney’s cosmopolitanism is
not to dismiss the significance of the national, but to indicate
multiple allegiances and identifications. In addition to
considering Heaney as a cosmopolitan poet, this thesis uses
approaches and concepts from memory studies to draw out the
significance of Heaney’s work in a transnational literary
space. While critics have long asserted the importance of memory
in his poetry, it has most often been treated as a peripheral
rather than central idea. While some criticism obliquely deals
with collective or cultural memory in his work – for example by
discussing the representation of myth or tradition in his bog
poems – there has been little sustained attention to this
aspect of his work. This project is focused on how public memory
is shaped in collections and major translations published after
1995. Memory is a helpful lens to look at Heaney’s late work,
in particular, because of the importance of the interplay of
past, present and future in these works. In his later work the
dynamic plays out in interesting ways: in the construction of a
collective memory of the Troubles in works written in the 1990s;
in the use of the elegy to commemorate the passing of important
contemporary poets; in his writing on events with transnational
significance, such as 9/11; and in the slippages between past and
present in poems about his family. Another way that Heaney
explores memory is through the literary afterlives of texts –
specifically, his appropriation of canonical classical texts. His
adaptations of Sophocles, Horace and Virgil collapse the
distinctions between past, present and future. In his late work
Heaney actively shapes collective memory through a pattern of
reprising and revising imagery and ideas from his earlier work
and through the translation and adaptation of texts from
classical antiquity. The thesis concludes with a coda which
examines the commemorative practices which have emerged since his
death in 2013 and, particularly, how an individual can function
as a site of memory.
15
Dennison, John. „Seamus Heaney and the adequacy of poetry : a study of his prose poetics“. Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3026.
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Seamus Heaney's prose poetics return repeatedly to the adequacy of poetry, its ameliorative, restorative response to the inimical reality of life in the public domain. Drawing on manuscript as well as print sources, this thesis charts the development of this central theme, demonstrating the extent to which it threads throughout the whole of Heaney's thought, from his earliest conceptual formation to his late cultural poetics. Heaney's preoccupation with this idea largely originates in his undergraduate studies where he encounters Leavis and Arnold's accounts of poetry's adequacy: its ameliorative cultural and spiritual function. He also inherits, from Romantic and modernist influences, two differing accounts of poetry's relationship to reality. That conflicted inheritance engenders a crisis within Heaney's own early theorisation of poetry's adequacy to the violence of public life. An important period of clarification ensues, out of which emerge the dualisms of his later thought, and his emphasis on poetry's capacity to encompass, and yet remain separate from, ‘history'. Accompanied by habitual appropriation of Christian doctrine and language, these conceptual structures increasingly assume a redemptive pattern. By the mid-1990s, Heaney's humanist commitment to a ‘totally adequate' poetry has assumed a thoroughly Arnoldian character. The logical strain of his conceptual constructions—particularly the emphasis on poetry's autonomy from history—becomes acutely apparent, revealing just how appropriate the ambivalent ideal ‘adequacy' is. The subsequent expansion of Heaney's poetics into a general affirmation of the arts illuminates the fiduciary character of his trust in poetry while exposing the limits of that trust: Heaney's belief in poetry's adequacy constitutes a humanist substitute for—indeed, an ‘afterimage' of—Christian belief. This, finally, is the deep significance of the idea of adequacy to Heaney's thought: it allows us to identify precisely the Arnoldian origin, the late humanist character, and the limits of his troubled trust in poetry.
16
Buxton, Rachel. „The influence of Robert Frost on Seamus Heaney and Paul Muldoon“. Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391013.
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17
Lavan, Rosie. „Seamus Heaney and society, 1964-1994“. Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:7b179e81-f84c-4f40-961a-ed06234b9e02.
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The contexts of Seamus Heaney's writing have been routinely noted but their critical interrogation has, to date, been limited. This thesis resituates Heaney's work to reassert the significance of his writing in its varied times and places. Its aim is to revive the web of connections within which Heaney's work was written, published, and received, and this accounts for the "society" of the title. While the idea of society as entity remains important, the word is employed primarily as a capacious guiding principle. Society's adjective, social, is always connected: to be "social" in any sense is always to be implicated in a wider context or contexts. A central ambition has been to reappraise Heaney's work in relation to the situation in Northern Ireland during the three decades under consideration. A trend in criticism has been to offer reductive contextual accounts which risk depreciating the value of a historicist approach. This thesis demonstrates instead how Heaney's work is implicated in textual, cultural, and institutional networks which were themselves conditioned by the unique circumstances in Northern Ireland. It considers: the London publishing scene on which his work emerged; his relationship to Belfast mediated through television documentary; his radio work for the BBC Northern Ireland Schools Service; his relationship to Derry mediated through photography; and ideas of audience, address, and redress in his Oxford lectures. Participating in the increasingly interdisciplinary treatment of literature within and beyond Irish Studies, the literary analysis at the heart of this project is undertaken within a broader framework of cultural criticism. The significance of this contribution lies not solely in its acts of historical recovery, but in the critical reorientation these permit. By locating Heaney as a respondent in varied public arenas we can understand the genesis not only of his work but of the international establishment literary figure he became.
18
O'Donoghue, Josephine Sheila. „Communicating metaphors in Shakespeare, Dickinson and Heaney“. Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269792.
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‘Relevance theory’ is a linguistic theory offering an alternative to the conventional ‘code model’ of communication, by suggesting that inference, rather than coding and decoding, is the primary driving force motivating interpretation. In this thesis, I consider the implications for literary criticism of the relevance theory account of communication, particularly in relation to metaphor, as an enduring concern of both linguistics and literary studies. The thesis focuses on three temporally disparate authors – Shakespeare, Dickinson and Heaney – whose work, analyzed by linguists as well as literary critics, is abundant in metaphor, but might prompt us to think about literary communication in different ways. The Introduction considers the coincidence of the central terms of relevance theory (context, interpretation, inference, intention) with many of the fundamental concerns of literary criticism. Chapter One examines various accounts of metaphor, historical and recent, by literary critics, philosophers and linguists, before offering a brief introduction to relevance theory’s ‘deflationary’ account of metaphor and its implications for literary critical analysis. Chapter Two looks at plays by Shakespeare that are as much concerned with communication as they are representations of it, and considers how relevance theory’s account of the cognitive process of developing new interpretations on the spot, in context, based on expectations of relevance, challenges any straightforward sense of what textual metaphors ‘mean’. Chapter Three explores the striking prominence of the term ‘inference’, fundamental to the relevance theory account of communication, in Dickinson’s poetry. Whilst Dickinson’s ‘definitional’, ‘X is Y’ metaphors appear to facilitate a bridging of the gap between abstractions and the concrete world linguistically, her dependence on inference exposes the bleak uncertainty of that which can only be inferred, whilst nonetheless forging a communicative bond between the poet writing and her multiple audiences. Chapter Four analyzes different figurative forms in Heaney’s poetry, and looks particularly at the relationship between metaphor and simile in light of the relevance theory account. Critical analyses of Heaney’s work often attribute political significance to what are assumed to be metaphors within his poetry, without considering the role played by (perhaps unconscious) interpretative expectations of the kind relevance theory would predict; taking local linguistic context more thoroughly into account might offer a very different perspective on what Heaney is ‘saying’. In conclusion, I review Lakoff and Johnson’s profoundly influential ‘conceptual metaphor theory’ (CMT), and propose that relevance theory’s linguistically-driven account of metaphor in communication needs elements of ‘conceptual’ accounts such as CMT which describe metaphor as a matter of thought as well as language. Metaphor is a tremendously powerful communicative tool, but one to which literary critical analysis cannot do justice without a functioning theory of communication such as that offered by relevance theory.
19
Brazeau, Robert Joseph. „"Mired in attachment" : cultural politics and the poetry of Seamus Heaney and Thomas Kinsella /“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0030/NQ66194.pdf.
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20
Vincent, Bridget Claire. „The example of poetry : moral authority and exemplarity in Seamus Heaney and Geoffrey Hill“. Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609140.
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21
Moore, Sharon. „Early attachments and identification processes in the poetry of Seamus Heaney and Michael Hartnett“. Thesis, Ulster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529580.
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22
Smith, Yvonne Joy. „Brightness Under Our Shoes: the Redress of the Poetic Imagination in the Poetry and Prose of David Malouf, 1960-1982“. University of Sydney, 2009. http://hdl.handle.net/2123/5139.
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Doctor of Philosophy(PhD)This study investigates the poetic foundation of David Malouf’s poetry and prose published from 1960 to 1982. Its purpose is to extend reading strategies so that the nature of his poetic and its formative influence are more fully appreciated. Its thesis is that Malouf explores and tests with increasing confidence and daring a poetic imagination that he believes must meet the demands of the times. Malouf’s work is placed in relation to Wallace Stevens’ belief that the poetic imagination should “push back against the pressure of reality”, a view discussed by Seamus Heaney in “The Redress of Poetry”. The surprise of the poetic as “unpredicted aesthetic value” (García-Berrio, 1989) is significant to his purposes and techniques, as it creates idea-images and feeling-values (Jung, 1921) that bring together apparently opposite ways of knowing the world. In seeking to represent the meeting of inner and outer perceptions, Malouf’s work shows the influence not only of Stevens but also Rilke and contemporary American poetry of “deep image”. The Australian context of Malouf’s work is considered in relation to Judith Wright’s essay “The Writer and the Crisis” and the poetry of Malouf’s contemporaries. Details of the manuscript development of his first four novels show Malouf’s steps towards a clearer representation of his holistic, post-romantic vision. His correspondence with the poet Judith Rodriguez provides useful insights into his purposes. Theories and research about brain functions, the nature of intelligence and learning provide an important international context in the 1960s and 1970s, given Malouf’s interest in how meaning forms from perception and experience. Jean Piaget’s view of intelligence and David Kolb’s theory of experiential learning (1984) offer frameworks for reading Malouf that have not yet been considered. The thesis offers a model of poetic learning that highlights the interplay of dialectically opposed ways of forming meaning and points to the importance for Malouf of holding diverse states of mind together through the poetic imaginary.
23
Smith, Yvonne Joy. „Brightness Under Our Shoes: the Redress of the Poetic Imagination in the Poetry and Prose of David Malouf, 1960-1982“. Thesis, The University of Sydney, 2008. http://hdl.handle.net/2123/5139.
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This study investigates the poetic foundation of David Malouf’s poetry and prose published from 1960 to 1982. Its purpose is to extend reading strategies so that the nature of his poetic and its formative influence are more fully appreciated. Its thesis is that Malouf explores and tests with increasing confidence and daring a poetic imagination that he believes must meet the demands of the times. Malouf’s work is placed in relation to Wallace Stevens’ belief that the poetic imagination should “push back against the pressure of reality”, a view discussed by Seamus Heaney in “The Redress of Poetry”. The surprise of the poetic as “unpredicted aesthetic value” (García-Berrio, 1989) is significant to his purposes and techniques, as it creates idea-images and feeling-values (Jung, 1921) that bring together apparently opposite ways of knowing the world. In seeking to represent the meeting of inner and outer perceptions, Malouf’s work shows the influence not only of Stevens but also Rilke and contemporary American poetry of “deep image”. The Australian context of Malouf’s work is considered in relation to Judith Wright’s essay “The Writer and the Crisis” and the poetry of Malouf’s contemporaries. Details of the manuscript development of his first four novels show Malouf’s steps towards a clearer representation of his holistic, post-romantic vision. His correspondence with the poet Judith Rodriguez provides useful insights into his purposes. Theories and research about brain functions, the nature of intelligence and learning provide an important international context in the 1960s and 1970s, given Malouf’s interest in how meaning forms from perception and experience. Jean Piaget’s view of intelligence and David Kolb’s theory of experiential learning (1984) offer frameworks for reading Malouf that have not yet been considered. The thesis offers a model of poetic learning that highlights the interplay of dialectically opposed ways of forming meaning and points to the importance for Malouf of holding diverse states of mind together through the poetic imaginary.
24
Moraes, Fabrício Tavares de. „Arando a linguagem: uma leitura comparada entre as poéticas de Salgado Maranhão e Seamus Heaney“. Universidade Federal de Juiz de Fora, 2013. https://repositorio.ufjf.br/jspui/handle/ufjf/926.
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A presente dissertação busca traçar uma análise comparada entre a obra poética do poeta irlandês Seamus Heaney e a do brasileiro Salgado Maranhão no que tange à tensão indissolúvel entre a intuição e razão que estão no âmago do ato poético, especialmente durante o processo de composição. Tomando como pressupostos os conceitos de apolíneo e dionisíaco do filósofo alemão Friedrich Nietzsche, desenvolvidos na obra O Nascimento da Tragédia (1872), o presente trabalho busca justamente apontar esses elementos antitéticos na gênese da poesia, bem como as posturas poéticas neles baseadas (chamadas doravante de “poesia instintual” e “poesia cerebral”). Além disso, pretende-se compreender a forma como as obras de ambos os poetas analisados se inserem nas manifestações poéticas da contemporaneidade. Por último, partindo da simbologia da terra – ampla e constantemente abordada ao longo de todas as obras de Heaney e Salgado –, busca-se efetuar uma leitura dos possíveis desdobramentos literários, sociais, culturais e históricos de tal metáfora.
This dissertation aims to draw a comparative analysis between the poetical works of the Irish poet Seamus Heaney and the Brazilian poet Salgado Maranhão, regarding the indissoluble tension between intuition and reason that is at the core of the poetic act, especially during the composition writing process. Utilizing as presupposition the concepts of the “Apollonian” and “Dionysian” coined by the German philosopher Friedrich Nietzsche, both developed in the work The Birth of Tragedy (1872), the present study attempts to pinpoint these antithetical elements that are in the genesis of poetry, as well as the poetic postures based on them (hereinafter called “instinctual poetry” and “cerebral poetry”). Furthermore, we intend to comprise the way through which the poetical works of both poets are inserted in the contemporary poetic manifestations. Lastly, basing on the symbolism of the earth/soil – wide and constantly addressed throughout the works of Heaney and Salgado – we intend to interpret the feasible literary, social, cultural and historic meanings of such metaphor.
25
Angelopulo, Byron Dimitri. „The development of the poetry of Seamus Heaney From Death of a Naturalist to North“. Thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/23809.
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Dimitri, Angelopulo_Byron. „The development of the poetry of Seamus Heaney From Death of a Naturalist to North“. Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/23807.
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27
Creedon-Carey, Una A. „“The Whole Vexed Question”: Seamus Heaney, Old English and Language Troubles“. Oberlin College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1432295982.
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28
Walls, E. „A Dialogue between Phenomenology and Poetry : Reading Heaney and Hopkins through Husserl, Heidegger and Merleau-Ponty“. Thesis, Queen's University Belfast, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517636.
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29
Kelly, David Gibbons. „"Eolas to Ma:" Construction of Postnational Space in the Interstitial Visions of Heaney, Carson and Morrissey“. OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/898.
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AN ABSTRACT OF THE DISSERTATION OF DAVID KELLY, for the Doctor of Philosophy degree in ENGLISH, presented on APRIL 21, 2014, at Southern Illinois University Carbondale. TITLE: "EOLAS TO MA:" CONSTRUCTION OF POSTNATIONAL SPACE IN THE INTERSTITIAL VISIONS OF HEANEY, CARSON AND MORRISSEY MAJOR PROFESSOR: Dr. Michael Molino In his 1997 work Postnationalist Ireland, Richard Kearney addresses the issue of the Irish community today. He notes how an Irish diaspora of seventy million "challenged the inherited definitions of state nationalism" (99). He then notices how "the Irish word for province is coiced which means fifth" (99) and, though contemporary Ireland is divided into four provinces, earlier traditions included a "`middle' or the `fifth province'" (99). It is in this medial space, whose boundaries are not geographical or political but, for Kearney, "more like a disposition" (100), that Irish postnational identity can be reimagined as the interplay between the local and global communities. After all, Kearney asserts, "Irish culture rediscovers its best self...in its encounter with other cultures...." (101). My study will argue that this postnational sense of Irish identity is a preoccupation of three waves of Northern Irish poets: Seamus Heaney, Ciaran Carson and Sinead Morrissey. It is best depicted through an analysis of each poet's use of the concepts of "center," "war," "home," and "travel." My research will focus primarily on Heaney's version of Builhe Suibhne , Sweeney Astray, and District and Circle, Carson's retranslation of The Táin and Belfast Confetti, and Morrissey's Between Here and There and analyze the strategies of each of these writers as they re-present a contemporary postnational Irish identity that is shaped by local and international forces. Despite the recognized importance of Heaney, Carson and Morrissey as insightful poetic commentators on "The Troubles," a three decade long period of violent political and social turmoil (1968-1995), these three authors' use of Japanese elements in their verse tends to be overlooked. And, despite each writer's familiarity with the others' work, they are not often discussed together. My comparative study of these authors will aim to show how their interstitial vision embedded in distinctive Early Irish translations and use of Japanese religio/aesthetic elements in their contemporary verse, create a third space, a postnational center. In order to analyze how each poet constructs a regional/global identity, this study will examine and compare such transitional cultural and linguistic processes as "liminality," "ma," and the act of poetic translation. Morrissey's verse, in particular, often succinctly and exactly frames these issues expressed by her senior colleagues, so her poetry will be frequently employed as a lens for examining Heaney's and Carson's poetry.
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Atfield, Joy Rosemary. „'The end of art is peace' : a study of creative tensions in the poetry of Seamus Heaney“. Thesis, University of Sussex, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305275.
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Annunciação, Viviane Carvalho da. „Seamus Heaney: a polifonia (da) poética do exílio“. Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-11092008-173942/.
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Na pesquisa de Mestrado intitulada \"Seamus Heaney: Polifonia (da) Poética do Exílio\" concluímos que o poeta desestabiliza a noção de subjetividade à medida que se afasta de seu lugar de origem. Nesse sentido, encontramos o eu lírico em uma peregrinação católica em que reconstrói, simbolicamente, as fragmentações e divisões de sua comunidade nativa, uma vez que ele próprio cria diálogos imaginários entre seu passado, presente e futuro. Rompendo com as noções lineares de espaço e tempo, Heaney compõe uma poética do exílio como fruto de uma consciência polifônica, em que a atividade poética depende: 1. das personas (subalternas ou literárias) que fizeram parte de sua constituição artística; 2. da culpa de ter-se afastado da Irlanda do Norte em meio à crise civil; e 3. o desejo de liberdade proveniente da visão crítica de James Joyce. Ao fazer movimentos circulares em torno de si mesmo e de sua terra, o autor reproduz o símbolo celta do triskele, através do qual ele reflete sobre as implicações do fazer poético do autor na literatura contemporânea.The masters research entitled \"Seamus Heaney: Polyphonic Poetics of Exile\" enabled us to conclude that, as the poet distances himself from his native homeland, he de-constructs the notion of poetic subjectivity. Therefore, in order to display this feature, the persona embraces a catholic pilgrimage through which he reconstructs symbolically the fragmentations and divisions of his own community, whilst he himself creates imaginary dialogues between his past, present and future. Overcoming the traditional chronotope of linear time and space, Heaney gives rise to an exile poetics whose polyphonic consciousness stems from: 1. the personas (subaltern or literary) that have belonged to his artistic constitution; 2. the guilt of distancing himself from Northern Ireland in the middle of a civil war; and 3. the desire of liberty provided by the critical vision of James Joyce. As long as he performs circular movements around himself and his land, the author reproduces the Celtic symbol triskele through which he reflects about the implications of writing poetry in contemporary society.
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Kennedy, David Gerard. „Ideas of community and nation in the poetry of the middle generation : Douglas Dunn, Tony Harrison and Seamus Heaney“. Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299679.
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Kellett, Lucy. „"Enough! or too much" : forms of textual excess in Blake, Wordsworth, Coleridge and De Quincey“. Thesis, University of Oxford, 2016. http://ora.ox.ac.uk/objects/uuid:641b0fe2-3b07-46cf-94b6-7d27a2878686.
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My thesis explores the potential and the peril of Romantic literature's increasingly complex forms through a close comparative study of the works of William Blake, William Wordsworth, Samuel Taylor Coleridge and Thomas De Quincey. These writers exemplify the Romantic predicament of how to make vision manifest – how to communicate one's imaginative and intellectual expansiveness without diminishing it. They sought different strategies for increasing the capacity of literary form, ostensibly in the hope of communicating more: clarifying meaning, increasing accessibility and intensifying original experience. But textual expansion – materially, stylistically and intellectually – often threatens more opportunities for confused and partial meanings to proliferate, overwhelming the reader by dividing texts and undermining attempts at coherent thought. Expansion thus becomes excess, with all its worrying associations of superfluity. To further complicate matters, Burke's influential tenet of the Sublime makes a virtue out of excess and obscurity, raising the problematic spectre of deliberately confused/confusing texts that embody an aesthetic of incomprehension. I explore these paradoxes through four types of 'textual excess' demonstrated by the writers under discussion: firstly, the tension between poetry and prose adjuncts, such as prefaces and notes, in Wordsworth and Coleridge; secondly, De Quincey's indulgent verbosity and struggle to control the freeing shapelessness of prose; thirdly, Wordsworth's and De Quincey's parallel experiences of revision as both uncontrollably diffusive and statically concentrated; and lastly, Blake's more deliberate, systematic attempt to enact a literary Sublime in which the reader is forced out of passivity by the competing demands of verbal and visual media. All are motivated and thwarted in varying degrees by their anxious preoccupation with saying "Enough", and the difficulty of determining when this becomes “Too much”. These authorial dilemmas also incorporate larger concerns with man's (over)ambition at a time of rapid and unprecedented economic, social and intellectual acceleration from the Enlightenment to industrialism. The fear that the concept and process of 'progress', or 'improvement', marks deficiency rather than fulfilment haunts Romantic writers.
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Finn, Christine. „Fieldwork : archaeology and the poetic past of W.B. Yeats and Seamus Heaney“. Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310520.
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Davis, Alexander Tyrrell. „An examination of the notions of #masculinity' and #femininity' in the poetry and prose of Ted Hughes and Seamus Heaney“. Thesis, University of Sheffield, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242469.
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Boast, Rachael. „Dark saying : a study of the Jobian dilemma in relation to contemporary ars poetica : Bedrock : poems“. Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/906.
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Part I of this thesis has been written with a view to exploring the relevance a text over 2500 years old has for contemporary ars poetica. From a detailed study of ‘The Book of Job’ I highlight three main tropes, ‘cognitive dissonance’, ‘tĕšuvah’, and ‘dark saying’, and demonstrate how these might inform the working methods of the contemporary poet. In the introduction I define these tropes in their theological and historical context. Chapter one provides a detailed examination of ‘Job’, its antecedents and its influence on literature. In chapters two and three I examine in detail techniques of Classical Hebrew poetry employed in ‘Job’ and argue for a confluence between literary technique and Jobian cosmology. Stylistically, the rest of the thesis is a critical meditation on how the main tropes of ‘Job’ can be mapped onto contemporary ars poetica. In chapter four I initiate an exploration into varying responses to cognitive dissonance, suggesting how the false comforters and Job represent different approaches to, and stages of, poetic composition. A critique of an essay by David Daiches is followed by a detailed study of Seamus Heaney. In chapter five I map the trope of tĕšuvah onto contemporary ars poetica with reference to the poetry of Pilinszky, Popa, and to the poems and critical work of Ted Hughes. The chapter concludes with a brief exploration into the common ground shared between the terms tĕšuvah and versus as a means of highlighting the importance of proper maturation of the work. Chapter six consists of a discussion of how the kind of ‘dark saying’ found in ‘Job’ 38-41 impacts on an understanding of poetic language and its capacity to accelerate our comprehension of reality. I support this notion with excerpts from Joseph Brodsky and a close reading of Montale’s ‘L’anguilla’. Chapter seven further develops the notion of poetry as a means of propulsion beyond the familiar, the predictable or the clichéd, by examining the function of metaphor and what I term ‘quick thinking’, and by referring to two recently published poems by John Burnside and Don Paterson. In chapter eight I draw out the overall motif implied by a close reading of ‘Job’, that of the weathering of an ordeal, and map this onto ars poetica, looking at two aspects of labour, which I identify as ‘endurance’ and ‘letting go’, crucial for the proper maturation of a poem or body of poems. The concluding chapter develops the theme of the temple first discussed in chapter one. I argue for a connection between Job as a temple initiate, who has the capacity to atone for the false comforters, and poetry as a form of ‘at-one-ment’. This notion is supported by reference to Geoffrey Hill and Rilke. Part II of the thesis consists of a selection of my own poems, titled ‘Bedrock’.
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van, Dyk Gerrit. „Translation as Katabasis and Nekyia in Seamus Heaney's "The Riverbank Field"“. BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3473.
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Translation has been at the heart of Seamus Heaney's career. In his poem, "The Riverbank Field," from his latest collection, Human Chain, Heaney engages in metatranslation, "Ask me to translate what Loeb gives as / 'In a retired vale...a sequestered grove' / And I'll confound the Lethe in Moyola." Curiously, with a broad spectrum of classical works at his disposal, the poet chooses a particular moment in Virgil's Aeneid as an image for translation. What is it about this conversation between Aeneas and his dead father, Anchises, at the banks of the Lethe which makes it uniquely fitting for Heaney to explore translation? In order to fully understand Heaney's decision to translate this scene from Aeneid 6, it must be clear how Heaney perceives the classical tropes of katabasis (descent into the underworld) and nekyia (communion with the dead). Due to the particularly violent and destructive history of the 20th century from the World Wars to the Holocaust, contemporary poets tend to portray katabasis and nekyia in their works as tragic (See Falconer's Hell in Contemporary Literature). Heaney subverts this view of a tragic descent and communion with the dead in his poetry, instead opting for a journey through Hell which is more optimistic and efficacious. Heaney's rejection of the contemporary tragic katabasis and nekyia allows these classical tropes to become a metaphor for translation. I argue Heaney demonstrates how he views translation and the role of the translator through this metatranslational instance in "The Riverbank Field." For Heaney, not only can a poet descend to the underworld where spirits of the literary dead wait for translation into a new medium, but the translator actually can succeed in bringing an ancient author to a modern readership.
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Quément, Fanny. „« Mutable as sound » : mutations des influx sonores dans l’œuvre de Seamus Heaney“. Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA113.
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Cette thèse interroge la présence et les métamorphoses du son dans l’œuvre de Seamus Heaney, avec pour perspective la confrontation de l’expérience du texte imprimé à celle d’un corpus audio. En nous penchant sur les essais, les poèmes et les enregistrements commercialisés de l’auteur, nous retraçons le parcours des influx sonores depuis la perception des ondes dans l’environnement jusqu’à l’émission de la voix en passant par leur recréation dans le texte. Parler d’« influx sonores », c’est raviver la métaphore aquatique dans la catachrèse des « ondes », mais aussi inviter à détecter des courants souterrains et à prendre en compte leur réception et leur absorption par l’auditeur autant que leur diffusion.Afin de montrer que chaque poème constitue un événement sonore à part entière, nous analysons le processus par lequel l’environnement sonore est transformé en un paysage sonore poétique, à son tour placé dans de nouveaux environnements par le biais de la performance orale. L’éclairage apporté par les Sound Studies nous permet de souligner le caractère dynamique mais aussi la fugacité du son, d’identifier et de discuter les propriétés conductrices d’une écriture qui accueille aussi le silence en son sein, ainsi que de conceptualiser, avec Heaney, la notion d’écoute. Nos micro-lectures sont aussi des micro-écoutes qui vont jusqu’à tenir compte de la dimension phonétique des textes, notre étude de la voix poétique étant complétée par une analyse de la voix physique. En considérant le graphotexte, le phonotexte et l’audiotexte comme trois modes d’existence non-hiérarchisables d’un même poème, nous cherchons à approfondir et nuancer les recherches sur la prosodie de Heaney, qui dépasse de loin la versification classique, voire formaliste, à laquelle on l’a souvent assimiléeThis thesis questions the presence and metamorphoses of sound in the works of Seamus Heaney, ultimately bringing the experience of the printed text and that of audio recordings into comparison. Based on a study of the author’s essays, poems and commercialised recordings, it retraces the trajectory of sound influxes from the perception of soundwaves in the environment to the emission of the voice, via their recreation in writing. The phrase “sound influx” is meant to revive the aquatic metaphor in the catachretic compound “soundwave.” It also invites to detect undercurrents by ear and study them from the perspective of the listener, taking into account their reception and absoption as much as their broadcasting.In order to show that each poem is a sound event of its own kind, it analyses the process through which the sonic environment is turned into a poetic soundscape which then becomes part of other environments when orally performed. Borrowing concepts from Sound Studies, it highlights the dynamic but elusive nature of sound, identifies and questions the conductive properties of a writing that also makes room for silence, and reflects, along with Heaney, on listening as a notion.The close-readings developed here are also close-listenings that take into account the phonetic dimension of texts, the study of the poetic voice being completed by an analysis of the poet’s physical voice. Considering the graphotext, the phonotext and the audiotext as three equally significant incarnations of one poem, aims at bringing a nuanced perspective on Heaney’s prosody as it is too often reduced to formal – if not formalist – versification
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Coyle, Derek. „'Out to an other side' : the poetry of Paul Celan and Seamus Heaney and the poetic challenge to post-modern discussions of absence and presence in the context of theological and philosophical conceptions of language and artistic production“. Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/1765/.
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Martin Heidegger in 'The Origin of the Work of Art' seeks to approach the self-subsistent nature of art. The Greek Temple opens up a space within which our Being may dwell. It is the site of human civilization and religion, and of our capacity to dwell within abstractions like peace, justice, truth and representation. Art breaks open a new place and presents things in a fresh light. Language is the primary model for this activity. Paul Celan in his poetry offers a challenge to Heideggerian abstraction. Both poet and philosopher were intimately familiar with each other's work, yet there is no essay on Celan, or even a reference, in the entire Heideggerian corpus. Celan's poem 'The Straitening' conveys the breakdown of meaning that has occurred after the holocaust. In form and content it challenges any Heideggerian notion of the higher univocity achieved by great poetry. We will explore recent examples of how poets have examined the idea of cultural belonging exclusion. We present a distillation of this idea in the writings of Paul Celan, particularly his presentation of the moment of 'Shibboleth'. We explore the biblical origin of the term 'Shibboleth' in a conflict between the army of Jephtah and the Ephraimites. We look at a contemporary poem with 'shibboleth' as it theme. Seamus Heaney's 'Broagh'. A consistent theme of Maurice Blanchot's critical reflection from The Work of Fire in 1949 up to and including The Space of Literature in 1955, is the manner in which our being creatures unto death allows us to create art, and to think and write in the abstraction that is language. Life endures death and maintains itself in it. For Blanchot Rainer Maria Rilke is one of the most significant modern poets in the way in which he has presented and explored this theme. We challenge Blanchot's inadequate reading of Rilke in The Space of Literature as an instance of his own pre-conceived philosophical nihilism.
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Clougherty, Robert James. „The historiography of three Irish poets W.B. Yeats, Seamus Heaney, and Richard Murphy /“. Access abstract and link to full text, 1991. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/9123419.
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McAllister, Daniel. „The Influence of American Poets on John Montague, Seamus Heaney, Derek Mahon and Paul Muldoon“. Thesis, Ulster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487661.
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[n this thesis I set out to examine American poetic influence on four leading (Northern) Irish poets: John Montague, Seamus Heaney, Derek Mahon and Paul Muldoon. The American influences overlap amongst the Irish poets, so as a group I perceive them to be Robert Frost, Robert Lowell, Wallace Stevens, Elizabeth Bishop, William Carlos Williams, Theodore Roethke, Ezra Pound and to a lesser extent, Hart Crane, Frank O'Hara, and Charles Olson. Although American poetic influence can be charted throughout the careers of these Irish poets (I suggest the presence of Pound in Mahon's 2005 collection, Harbour Lights) the core of this work focuses on the formative effect of this influence upon their earlier poetry and their first significant publications. This focus reflects the heightened receptivity of poets in general to precursors and exempla in the emerging stage of their vocation and in the effort to develop an individual voice.In the four core chapters on the Irish poets I present a detailed study of the substantive textual allusions to, invocations of, and subsequent intertextual associations with their American forerunners.
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Le, Ven Pauline. „Les nouveaux visages de la muse au IVe siècle av. J.-C. = The Many-Headed Muse : tradition And Innovation in Fourth-Century B.C. Greek Lyric Poetry“. Thesis, Paris 4, 2008. http://www.theses.fr/2008PA040234/document.
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Cette thèse examine le corpus de textes lyriques grecs composés pendant la période 425-323 av. J-C. Une première partie consacrée aux sources et méthodes présente les témoignages littéraires, papyrologiques et épigraphiques attestant l’activité lyrique de la période considérée et souligne l’importance méthodologique d’une relecture de l’histoire musicale telle que présentée par Athénée et le De musica. Elle étudie en outre l’évolution de l’image du poète lyrique à la lumière d’anecdotes se rapportant au dithyrambiste Philoxène. Une des deuxième partie présente une étude littéraire de textes représentatifs des principaux sous genres lyriques (dithyrambe, nome, hymne et paean) et explore la dialectique entre tradition et innovation dans la production, la "performance" et le conteste de réception de ces poèmes. En associant critique littéraire et analyse socioculturelle, ce travail apport un éclairage nouveau sur un corpus de textes poétiques jusqu’ici peu étudiés de façon systématiqueThis dissertation gives an overview of the extant 800 lines of lyric poetry composed between 425 and 323 B.C. and tackles the question of the demise of mousikê in the late classical period. A first part collects the evidence for lyric composition and practice during that period, deconstructs the "death of lyric" fiction that the major litterary sources (Athenaeus and the De musica) present, and studies the evolution of the image of the lyric poet between archaic and late-classical times as reflected in anectotes. A second part focuses on the texts (dythrambs nomes hymns and paeans) and explores the dynamics between tradition and innovation in the production, performance, and reception of these lyric poems. By combining a close reading of the texts with attention to their intellectual and cultural context, I argue that our evidence suggests a tradition of lyric poetry that continuallya adapts to the new performance contexts and modes of transmission of the late classical period
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Guibert, Pascale. „L'ecriture du paysage chez quatre poetes irlandais contemporains : patrick kavanagh, richard murphy, brendan kennelly et seamus heaney“. Paris 7, 1997. http://www.theses.fr/1997PA070046.
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Ce travail a une double ambition : a travers les poemes de quatre poetes irlandais - seamus heaney, patrick kavanagh, brendan kennelly et richard murphy - degager ce que leurs paysages expriment, afin de parvenir a determiner ce que le paysage, en tant que genre, tend a representer. Il n'a pas pour but de definir cette poesie, mais d'en eclairer un aspect - le travail du paysage - en vue d'une reflexion plus grande sur la place de l'ecriture dans la composition du paysage. C'est pourquoi nous ne recensons pas les paysages typiquement irlandais, mais tentons de penetrer en deca des elements depeints, afin de mettre en evidence comment ils le sont et dans quel but. Nous ne nous attardons pas a l'aspect visuel du lieu represente, ni a l'emplacement geographique de son site d'origine, mais determinons ce qu'un paysage particulier nous revele de l'idee de paysage, au sein de laquelle il s'inscrit. Quatre etapes jalonnent notre cheminement. Dans la premiere partie sont exposes les roles du poete au sein de la societe, puis de l'homme sur le paysage, tels que l'on peut les degager de representations d'etendues de pays. La seconde partie va, elle, a la recherche de la condition et des sentiments humains dont temoignent les formes paysageres. Approfondissant encore ce que les paysages revelent de l'homme, en tant qu'etre agissant et creant, nous precisons dans la troisieme partie le travail de cet homme tel qu'on le ressent exprime par des paysages, et souligne par leur ecriture. Nous remontons enfin jusqu'aux instants premiers de ce travail, eux aussi representes par certains paysages et leur poetique. On peut apprehender ceux-la comme une tentative d'explicitation - grace a des images renvoyant a l'exterieur - du principe de la creation artistique. Ainsi un paysage ne devrait-il pas etre considere comme une simple description de la nature, mais comme une manifestation de notre role de creationBy the careful study of the poems of four irish poets - seamus heaney, patrick kavanagh, brendan kennelly and richard murphy - we try to specify what their landscapes express so that we can then determine what landscape, as a genre, actually represents. This is no presentation of their poetry since we focus on one of its aspects : what work is expressed through landscape. This leads us to concentrate more intently on the role of writing in the creation of landscape. Thus have we not made a list of the typically irish landscapes. We have tried to go beyond what is just depicted in order to show how and why this depiction was done. We do not so much consider either the visual aspect of the written place or its original geographic situation as what, as a particular landscape, it reveals about the idea of landscape, to which it gives a form. There are four stages to our progression towards what is seemingly expressed through a landscape. At first, the parts played by the poet in the building of society, and by man in the building of landscape are presented. These we have been able to define through the study of the way some exterior scenes were represented. In the second part, we try to determine which living conditions and human feelings are betrayed by such or such landscape. In the third part, we continue our search beyond the description of the exterior world and discover what a particular landscape reveals about man as a doer and as a creator. We then concentrate on his precise work, which we see expressed by some landscapes, and even stressed by the way they are written. We finally reach the very first moments of this work of creation, also represented by some landscapes and their writing. These landscapes can be considered as attempts at making explicit - thanks to images from the exterior world - the principle of artistic creation. So, a landscape should not be thought of as a mere description of nature but as an expression of our function as creators
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Pettersson, Olof. „A Multiform Desire : A Study of Appetite in Plato’s Timaeus, Republic and Phaedrus“. Doctoral thesis, Uppsala universitet, Avdelningen för teoretisk filosofi, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-186130.
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This dissertation is a study of appetite in Plato’s Timaeus, Republic and Phaedrus. In recent research is it often suggested that Plato considers appetite (i) to pertain to the essential needs of the body, (ii) to relate to a distinct set of objects, e.g. food or drink, and (iii) to cause behaviour aiming at sensory pleasure. Exploring how the notion of appetite, directly and indirectly, connects with Plato’s other purposes in these dialogues, this dissertation sets out to evaluate these ideas. By asking, and answering, three philosophically and interpretatively crucial questions, individually linked to the arguments of the dialogues, this thesis aims to show (i) that the relationship between appetite and the body is not a matter of survival, and that appetite is better understood in terms of excess; (ii) that appetite is multiform and cannot be defined in terms of a distinct set of objects; and (iii) that appetite, in Plato, can also pertain to non-sensory objects, such as articulated discourse. Chapter one asks what the universe can teach us about embodied life. It argues that Plato, in the Timaeus, works with an important link between the universe and the soul, and that the account of disorder, irrationality and multiformity identifying a pre-cosmic condition of the universe provides a key to understanding the excessive behaviour and condition of a soul dominated by appetite. Chapter two asks why the philosophers of the Republic’s Kallipolis return to the cave, and suggests that Plato’s notion of the noble lie provides a reasonable account of this. By exploring the Republic’s ideas of education, poetry and tradition, it argues that appetite – a multiform and appearance oriented source of motivation – is an essential part of this account. Chapter three asks why Socrates characterizes the speeches of the Phaedrus as deceptive games. It proposes that this question should be understood in the light of two distinctions: one between playful and serious discourse and one between simple and multiform. It argues that the speeches of the Phaedrus are multiform games, and suggests that appetite is the primary source of motivation of the soul addressed, personified by Phaedrus.
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Arnold, Amanda Suzanne. „Shift“. Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/english_theses/26.
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The following is a collection of original poetry. The manuscript consists of an introduction explaining influences and style, and four chapters of poems categorized by subject matter: object/nature, writing/creativity, relationships, and family/figures. INDEX WORDS: Poetry, Poem
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Tseng, Shou-Jen, und 曾守仁. „Reconstructing Wang Fu-Chih’s poetry theory :An exploration of Confucianism’s poetic concept based on the correlation between philosophy and poetry / darkness and brightness / heaven and human“. Thesis, 2008. http://ndltd.ncl.edu.tw/handle/32968157581527191719.
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博士國立臺灣大學
中國文學研究所
96
This dissertation aims to reconstruct the poetic theory of Wang Fu-chih. First of all, it discusses Wang’s misery poetry, from which the author also tries to review topics like “stimulating observing express fellowship show resentment”, “Fusion between emotion and scene”, “Theory of poetry and lyrics” and” concept and dynamic structure” to demonstrate that “affection” is the prerequisite of poetry. Furthermore, how Wang re-shapes the above-mentioned topics through “proper affections” and how he reflects poetry are also observed in the dissertation. Poetry was not dominated by affection only when developed in Ming and Chin dynasties. At that time, it was overtaken by styles like “Shishi” and “Prose as poetry” . Concept was the dominant factor in composing poetry and narration and comment also appeared. Simplicity and elegance in poetry were severely challenged when novels became popular, and this also led to a conflict between affection and narration. Moreover, poets’ original voice was further refrained by principles and formats. Under this situation, poetry was no more a reflection of poets’ affection; rather, it became a writing style for poets to follow, and its simplicity was questioned. Therefore, Wang believed that poetry lost its purity. He proclaimed the integration of “stimulating observing express fellowship show resentment”, and turned affection into insight and enlighten in the hope that human affection can observe the nature of the universe. His view about affections was different from other poets in the late Ming dynasty. He also believed that lyrics must be combined with poetry. In other words, lyrics should be the base for affection to further illuminate human emotion and poetry also needs to combine with morality to lead human beings to the original state of Grand Harmony where order and ethnics are still intact. Inspired by the combination of affection and lyrics, poets were able to reach the state of Grand harmony; poetry therefore served as a medium for their elevation and enlighten. “Concept is the dominant factor in poetry” proclaimed by Wang then demonstrated that a good concept is a process of thinking and reflection neither just a quotation of others’ works nor imagination. Wang’s poetry theory actually is not an isolated territory. Judging from its consistency of thoughts, it is indeed the study of Heaven and Human Nature, also an extension of Theory of Human Nature. For folks living in the change of Ming and Chin dynasties, Wang’s affection-oriented poetry appropriately served as their response to the chaotic political environment. Wang could also attached his loyalty to Ming and found his redeem and a peaceful final settlement in his own poetry.
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Yeh, Ying-Chen, und 葉映辰. „Jong Zhis “Mountain and Stream Poetry”and the Concept of the Unity of Heaven and Human Beings in It“. Thesis, 2009. http://ndltd.ncl.edu.tw/handle/43144978661852710895.
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碩士淡江大學
中國文學系碩士在職專班
97
Poem is the crystal of Jong Zhis’s soul; Jong Zhis''s soul is inlaid in the poem. From the expression of poetry, we realize the wise life thinking and the soul boundary of Jong Zhis after reading her ” Mountain and Stream Poetry”. The “ Mountain and Stream Poetry “that Jong Zhis created in 50~60 era appears lofty admiration to the sentiment of the scenery. Therefore, she often praises and admires the nature by her poems. The style of her poems is chaste, lyric and graceful; so, usually her poem make the readers mind pure and bright filled with delight. After 70 era, the poem of Jong Zhis is to get rid of the troubled fetters in the modern life, achieves the free mind and pursue the confines of the whole creation co-existence and unified universe. Because Jong Zhis corresponded with nature in person and the mutual conversation is filled with real feeling,so her poetry combining with perception and rationality often gives the surmounting strength to people, makes people’s mind steady and comforts people''s mind, arouses people''s sympathy, cultivates people’s compassion to life, arouses people''s esthetic appeal and influences subtly people to accept the education of the true, the good and the beautiful consciousness. In my opinion, I think that Jong Zhis has really achieved the ideal confines that “ Mountain and Stream Poetry “ intends to express and pursue -- “Unity of Heaven and Human Beings ”. There are totally five chapters in this thesis. The first section of the first chapter cites the comment from domestic and foreign scholars, the poet and poem reviewers on Jong Zhis and her poem to expound the significant importance of Jong Zhis and her poem in the new poetry history in Taiwan and its value in the academic research.The second section analyzes the research results about Jong Zhis''s dissertation and explains the reason to have further discussion on this topic in the thesis. The third section explains the research method for this thesis. The second chapter introduces the biography, the poetry creation and the poem view of Jong Zhis. The poem view of Jong Zhis is also the presentation of her view of life in the poetry art; however, the development of Jong Zhis style in the poetry art is also deeply influenced by her view of life. The first section of the third chapter starts from sorting out Jong Zhis’s 374 poems by theme, and analyzes the trend of Jong Zhis’s poetry creation according to the results of theme classification, and uses it as the theory basis to expound Jong Zhis’s “ Mountain and Stream Poetry ”. As for Jong Zhis’s “ Mountain and Stream Poetry “ in the second section, it describes Jong Zhis, scholars and my definition to Jong Zhis’s “ Mountain and Stream Poetry “ separately and expounds again how I recognize Jong Zhis’s “ Mountain and Stream Poetry “. The third section elaborates the artistic performance of Jong Zhis’s “ Mountain and Stream Poetry “ by three artistic innate nature from “music”, “light shade” and “color” separately. The fourth chapter has further discussion about the concept of “ Unity of Heaven and Human Beings “ in Jong Zhis’s “ Mountain and Stream Poetry “. The first section analyzes the concept of Jong Zhis‘s “ Unity of Heaven and Human Beings “ and its origin. The second section elaborates the concrete manifestation of “ Unity of Heaven and Human Beings “ in Jong Zhis’s “ Mountain and Stream Poetry “. The fifth chapter concludes and generalizes the elaboration contents from the previous four chapters. According to the conclusions, I, therefore, proposed my comments on Jong Zhis’s “ Mountain and Stream Poetry “ as well as the direction of further research in the future.
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Huang, Chia-chi, und 黃家琪. „Controlled Language Writing and Machine Translation:The Use of Oracle Poetry for the Empress of Heaven at the Penghu Temple as Samples“. Thesis, 2013. http://ndltd.ncl.edu.tw/handle/y422hf.
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碩士國立高雄第一科技大學
口筆譯研究所
101
This research aims to investigate the strategies for editing oracle poems from classical Chinese into vernacular controlled Chinese to improve its performance of machine translation (MT). The controlled language (CL), restricted in the scope of vocabulary and sentence structure, is used to edit oracle poems and Google Translate, a corpus/statistics-based MT tool, is used to test the quality of the MT output. The finding indicates that some strategies can be used to edit oracle poems, including: 1) explicitation strategies such as adding words, adding a transitional, and rewriting the Chengyu; 2) normalization strategies such as adding a preposition, and adding an article or/and a quantifier, and 3) simplification strategies such as using dual-syllable Chinese words, adding comma or semicolon to divide one sentence into two clauses, rewriting classical diction, and rewriting four-character phrases into common expressions. The controlled poems after pre-MT editing did highly improve the grammatical accuracy, semantic clarity and pragmatic appropriateness of MT outputs based on the reading feedbacks from some students who major in translation and interpreting, some native English speakers teaching at HESS cram school and one English professor. Above all, this research takes on some significance, suggesting that the use of controlled language for better MT performance supports Gutt’s relevance theory that translation must seek contextual and cultural relevance to the target audience by modifying the SL-specific linguistic features and source-culture-specific idiomatic expressions. Due to the effectiveness of pre-MT editing with a host of strategies, this research model can be replicated in the future researches on editing other genres of texts for effective MT application.
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Leclerc, Philippe. „Le traitement de l’espace dans Badlands et Days of Heaven, de Terrence Malick“. Thèse, 2011. http://hdl.handle.net/1866/5338.
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Ce mémoire de maîtrise étudie le traitement de l’espace dans les films Badlands (1973) et Days of Heaven (1978), du cinéaste américain Terrence Malick. Je m’intéresse dans un premier temps à montrer comment le traitement spatial de ces œuvres se démarque des conventions cinématographiques classiques en développant autour de la multitude de procédés et stratégies mis en œuvre par Malick pour rendre sensible et réflexif l’espace - sonore et visuel – des deux films, lequel est conçu pour être littéralement «habité» par les personnages mais également par les spectateurs. J’observe ensuite les implications (esthétiques, narratives, iconologiques, philosophiques, poétiques, etc.) de ce traitement singulier de l’espace filmique en montrant comment le cinéaste parvient à créer différents types de sensations et construire son discours par et à travers l’espace de ses œuvres. Le mémoire porte une attention particulière à la notion de «paysage filmique» et se structure en trois chapitres, lesquels étudient respectivement l’espace chez Malick en termes de «sensations» (sensibilité de l’espace, «mise en vue» du paysage au sein des deux films), de «relations» (relations entre les différents espaces et relations entre les personnages et l’espace) et de «mémoire» (densité «iconologique» du paysage). Aussi, j’aborde d’autres questions importantes au cours du projet et je reviens à plusieurs endroits sur la dimension «poétique» du cinéma de Malick et sur la «réflexivité spatiale» de ses films (réflexivité et aspect «attractionnel» du paysage, réflexivité de la voix-off, réflexivité de l’organisation et de la structure spatiales du récit, réflexivité du «tissage spectral»). Enfin, il est question de montrer au fil du mémoire que Malick parvient à édifier avec le cinéma, et par là avec l’espace et le paysage, un véritable espace de pensée qui «déborde» du cadre filmique.This Master’s thesis studies the treatment of space in Terrence Malick’s films Badlands (1973) and Days of Heaven (1978). First I apply myself to show how the treatment of space in these films distinguishes itself from classical cinematographic conventions, developing on the multitude of strategies used by Malick to make space (both visual and sound) sensitive and reflexive in the two films. Space here is created to be literally «inhabited» by the characters as well as the spectators. I then observe and comment on the implications (esthetical, narrative, iconological, philosophical, poetical, etc.) of this peculiar treatment of film space by showing how the filmmaker creates different types of sensations and constructs his discourse with and through space of his films. The thesis pays special attention to the concept of «film landscape» and structures itself in three chapters, which respectively study space in Malick’s work in terms of «sensation» (space sensitivity, «mise en vue» of the landscape in both films studied), of «relationship» (relationships between the different spaces and relationships between characters and space), and of «memory» («iconological» density of the landscape). In the project I also touch other important questions, coming back several times on the «poetical» dimension of Malick’s cinema and on the «space reflexivity» of his films (reflexivity and «attractional» aspect of the landscape, reflexivity of the voice-over, reflexivity of the organization and space structure of the story, iconological reflexivity). Finally, throughout the thesis I try to show that through filmmaking, and therefore through space and landscape, Malick creates a true space of thoughts that goes «beyond» his films.
Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.
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Smith, Lenore. „An exhumation : poetry of Seamus Heaney and Ted Hughes: disinterred ancient texts“. Thesis, 2005. https://researchonline.jcu.edu.au/15404/1/01front.pdf.
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Seamus Heaney and Ted Hughes are major English language poets who, like others, disinter the bones of ancient texts and reclothe them in living flesh. This thesis argues that the poems discussed, which were published in the last decade of the twentieth century, expose and explore themes and ideas that have determined human action from ancient to modern times. Heaney, who is Irish and has an English publisher, is installed at the centre of the Anglo-American literary canon. Conversely, apart from Birthday Letters which offer segments of his relationship with Sylvia Plath, Hughes is largely ignored by American critics. In dealing with Hughes’ last long poems, this thesis fills a gap in the critical literature. Examination reveals Hughes’ work to be as powerful, disturbing, appealing and pertinent for modern readers as Heaney’s.
The focus of the study is a detailed analysis of the poetry’s power in a 1990s context of war, oppression and intermittent peace. Basic to the analysis is Heaney’s repeated assertion: “the way an artist engages with the modern world is through the techniques of his art among other things, it doesn’t have to be modern subject matter at all, I think” (qtd. in John Haffenden 66). The thesis establishes Heaney’s ideal of modern relevance by exposing through close analysis continuous patterns of themes and ideas from ancient to modern times. Concurrently, the argument demonstrates similarities and differences in Heaney’s and Hughes’ poetic techniques.