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Kinsella, Michael. „Poet to poet : Seamus Heaney's Wordsworth“. Thesis, University of York, 2003. http://etheses.whiterose.ac.uk/14185/.
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Bender, Lucas Rambo. „Du Fu: Poet Historian, Poet Sage“. Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493294.
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This dissertation argues that Du Fu’s (712-770) ascent to the pinnacle of the Chinese literary pantheon was bound up with a revolution in the ways poetry was understood to be a serious endeavor. In Du Fu’s time, poetry had been valued for sustaining a time-transcending ritual institution descended from the ancient sages. Those later critics who placed Du Fu at the center of the poetic canon, by contrast, have generally located the his verse’s “serious” value in its embodiment of admirably accurate and appropriately felt perceptions of the precise historical circumstances that occasioned its composition. Although these latter critics have often claimed great antiquity for this latter vision of poetry’s moral significance, I argue that it was not an intellectual possibility in the Tang, and that it only came to be broadly persuasive when Du Fu’s collection was extensively remade through the addition of commentarial and contextualizing paratexts that were previously unprecedented within the Chinese critical tradition. Placed back into its original intellectual and material context, then, Du Fu’s poetry reads very differently than it has to post-medieval critics.
It was, however, no coincidence that Du Fu was chosen as the center of this radical reinvention of the Chinese poetic tradition. It is possible to trace in the poet’s early collection a process of divergence from the norms of his time, leading ultimately to the creation of a new poetic language that does in fact raise many of the questions that Du Fu’s most influential critics have sought to answer. Yet this new poetic language never fully delivers the reassuring claim that these later critics have seen in his collection: that the good man will always be able to understand and movingly convey the moral truth of his experience. Instead of demonstrating the poet’s apprehension of such natural and given truth, Du Fu’s mature verse dramatizes itself as within the process of seeking for sense, a process that it leaves always open and unfinished.East Asian Languages and Civilizations
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Seibel, George L. IV. „Being a Poet“. Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1346412172.
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Tolley-Stokes, Rebecca. „The Publisher-Poet“. Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/5769.
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Tovey, Paige Elaine. „Countless cross-fertilizations : Gary Snyder as a Post-Romantic poet“. Thesis, Durham University, 2011. http://etheses.dur.ac.uk/672/.
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This thesis examines Romantic (including American Transcendentalist) legacies in the poetry of Gary Snyder. It traces connections and conversations between Snyder and his Romantic predecessors, especially Wordsworth, Blake, Shelley, Emerson and Thoreau, and it seeks to demonstrate the workings of what Snyder himself calls “cross-fertilizations.” Snyder’s understanding of cultural influence is based on the Buddhist concept of interconnection. My thesis applies Snyder’s recurrent theme of interconnection and interdependence to his own relationship with Romantic visions, ideas and forms. Through examining Snyder’s poetic achievements in the light of the Romantic tradition, the thesis attempts to deepen current understanding of his work by suggesting that he should be considered not only as an ecological, post-modern or Beat poet, but also and centrally as a post-Romantic writer. My thesis is structured upon four main, interlocking concerns: eco-Romanticism, the Romantic poet as visionary and prophet, Romantic poetic form, and mountains and rivers as holistic Romantic emblems. It covers a wide range of Snyder’s poetry and prose from across his career in relation to these concerns. The first two chapters, centred on eco-Romanticism, address Snyder’s ecological inheritance from the Romantics; they examine the British Romantic pastoral tradition alongside Snyder’s contemporary eco-Romantic verse. Chapters Three and Four build on the poet’s sense of necessary individuality by focusing on the Romantic role of the poet as prophet in Snyder’s work. They trace the notion inherited from Romanticism of the poet who is conflicted by divergent roles: isolated visionary seer, on the one hand, and the prophetic poet whose role is to speak to and for society, on the other. In my chapters (Five and Six) on the forms through which the post-Romantic poet expresses his vision, I take as my point of departure Shelley’s assertion, from A Defence of Poetry, that “every great poet must inevitably innovate upon the example of his predecessors in the exact structure of his peculiar versification,” and I examine how Snyder’s “peculiar versification” follows and yet innovates upon the tradition of experimental and unconventional form set forth by his Romantic predecessors in such seminal works as Lyrical Ballads. In my final two chapters, I bring the thesis to a close by focusing on Snyder’s use of two Romantic emblems, mountains and rivers, as dialectical, interdependent elements of nature. Responding to their interaction, Snyder renews Romantic modes of representing the universe and the mind. The thesis draws on other American poets (including Williams, Pound and Stevens) in studying how a major American poet has shaped his art, meanings and identity out of a Romantic and post-Romantic poetic and cultural tradition.
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Cooke, Peter David. „Gustave Moreau, #painter-poet'“. Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307413.
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KAPLAN, SHEILA. „MURILO MENDES: COLLECTOR POET“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=14602@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Nesta série de ensaios interdependentes sobre Murilo Mendes, buscamos iluminar diferentes aspectos de sua obra, em especial aquela produzida na Itália, onde o autor se fixou de 1957 até sua morte, em 1975. O fio implícito que liga estes ensaios é a indagação sobre a sua relação com o repertório da cultura ocidental, elemento destacado tanto em sua poesia quanto na prosa. Relação esta que o distingue de outros escritores modernistas, uma vez que, para Murilo Mendes, não se tratava de contrapor uma cultura à outra, mas de formar um conjunto único, em que as diferenças não assumem posição hierárquica, nos moldes, por exemplo, de uma equação centro-periferia. A metáfora do colecionador, que guia o primeiro ensaio, é utilizada como uma chave que permite analisar sua prosa-inventário da tradição ocidental. O surrealismo à brasileira do autor, tema de outro ensaio, mostra o modo peculiar como Murilo absorveu as vanguardas do início do século XX. E o seu projeto universalista é tratado no terceiro capítulo. Os textos que compõem este estudo procuram, assim, acercar-se dessa obra por meio de uma escrita ensaística, conforme definição de Adorno, em que os vários pontos se entrelaçam como em um bordado. Escrita marcada pelo experimento, mais do que pela busca de um pensamento sistêmico e conclusivo.
This is a series of interdependent essays on Murilo Mendes which focus on different aspects of his work, particularly the texts he wrote in Italy, where he lived from 1957 until his death in 1975. The thread that implicitly runs through these essays is his relationship with the Western cultural repertoire, an aspect that stands out in both his poetry and his prose. Indeed, it is this that differentiates him from other Modernist writers. Murilo Mendes was not interested in setting one culture against another, but in uniting them in such a way that their differences were not represented hierarchically, such as center versus periphery. The metaphor of the collector that appears in the first chapter serves as a key for analyzing his body of prose from the Western tradition. His Brazilian-style surrealism is the object of another essay that discusses the particular way he incorporated the European vanguards of the early twentieth century. The third chapter is about his universalism. Overall, this study seeks to address the work of Murilo Mendes using the essay form as defined by Adorno, where points in the different texts interweave like a tapestry. The style is more experimental than strictly systematic or conclusive in its thinking.
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JUNIOR, JUAREZ DE QUEIROZ CAMPOS. „PARMÊNIDES THE LOGOS POET“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=26061@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A interpretação do Poema de Parmênides tradicionalmente tem como fontes Platão, Aristóteles e os neoplatônicos. Recentemente as questões lógicas e filológicas relacionadas ao verbo ser vem atraindo atenção não só de comentadores da filosofia antiga como Charles Kahn, mas também da filosofia analítica a partir dos críticas de Frege e Russell. Nesta dissertação, utiliza-se como eixo interpretativo os textos de Gorgias e Melisso sobre o ser, considerando a hipótese de que como estes pensadores desenvolveram os seus trabalhos em uma época mais próxima a Parmênides do que Platão e Aristóteles as suas interpretações nos fornecem uma leitura mais aproximada do sentido inicial do Poema. A partir da apresentação dos diversos sentidos do verbo ser pela filologia e das formulações de Kahn, será investigado o ser nas formulações de Melisso, Górgias comparando-o com o ser de Parmênides.
Plato, Aristotle and the Neo-Platonists have traditionally been considered to be the main sources for interpreting Parmenides The Poem. However, in the last century, the logical and filological dilemmas regarding the concept of being have begun to draw the attention of other scholars seeking more precise interpretations of The Poem, such as ancient philosophy commentator Charles Kahn and analytical philosophers Frege and Russell. In this paper I will argue that philosophers Gorgias and Melisso offer a more accurate interpretation of the concept of being discussed in Parmenides original text. Consequently, it will also be shown that in order to understand precisely The Poem, it is necessary to focus on the interpretations drawn by the two pre-Socratic philosophers supra-cited regarding the Poem, rather than to emphasize on the analysis made by Plato and Aristotle. The main reason supporting this argument that will be presented is that the works of such pre-Socratic philosophers were written in a time period much closer to the one of Parmenides than the works of Plato and Aristotle were. In order to build my argument I will first analyze the filological meanings of the concept of being. Then I will scrutinize the formulations of this concept as Kahn presents them. After that, I will examine the formulations of the concept of being in the works of both Melisso and Gorgias. Finally, I will compare and apply all of these formulations and meanings to Parmenides original text, and therefore conclude my argument.
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Svanefjord, Natasha. „Varför är Platon poet?“ Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30074.
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Oade, Stephanie. „Catullus : lyric poet, lyricist“. Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:469ce045-65e7-4df3-8a1e-c16e4195b9f7.
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There exists between lyric poetry and music a bond that is at once tangible and grounded in practice, and yet that is indeterminate, a matter of perception as much as theory. From Graeco-Roman antiquity to the modern day, lyrical forms have brought together music and text in equal partnership: in archaic Greece, music and lyric poetry were inextricably (now irrecoverably) coupled; when lyric poetry flowered in the eighteenth century, composers harnessed text to music in order to create the new and fully integrated genre of Lieder; and in our contemporary age, the connection between word and music is perhaps most keenly felt in pop music and song 'lyrics'. In 2016, the conferral of the Nobel Prize for Literature on Bob Dylan brought to wider public attention the nature of lyric's poetical-musical bond: can Dylan be considered a poet if the meaning, syntax and expression of his words are dependent upon music? Is music supplementary to the words or are the two so harnessed that the music is in fact a facet of the poetic expression? The connection between music and poetry is perfectly clear in such integrated lyric forms as these, but a more indeterminate connection can also be felt in 'purely' musical or poetic works - or at least in the way that we perceive them - as our postRomantic, adjectival use of the word 'lyrical' shows. Describing music as lyrical often suggests that it carries an extra-musical significance, a deeply felt emotion, something akin to verbal expression, while a lyrical poem brings with it an emotive aurality and a certain musicality. Text and music of lyrical quality may, therefore, invoke the other for the purpose of expression and emotion so long as our understanding of lyric forms remains conditioned by the appreciation of an implied music-poetry relationship This thesis works within the overlap of music and poetry in order to explore the particular lyric voice of Catullus in the context of his twentieth-century musical reception. Whilst some of Catullus's poems may have been performed musically, what we know of poetry circulation, publication and recitation in first-century BCE Rome suggests that the corpus was essentially textual. Nevertheless, Catullus's poetry was set to music centuries later, not in reconstruction of an ancient model, but in new expression, suggesting not only that composers of the twentieth century found themes in Catullus's poetry that resonated in their own contemporary world but that they found a particular musicality, something in the poetry that lent itself to musical form. I argue that it is in these works of reception that we can most clearly identify the essence of Catullan lyricism. Moreover, by considering the process of reception, this thesis is able to take a broader view of lyric, identifying traits and characteristics that are common to both music and poetry, thus transcending the boundaries of individual art forms in order to consider the genre in larger, interdisciplinary terms.
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Soheil, Kian. „Browning's player-prince : Hohenstiel-Schwangau, saviour of society“. Thesis, King's College London (University of London), 1999. https://kclpure.kcl.ac.uk/portal/en/theses/brownings-playerprince--hohenstielschwangau-saviour-of-society(56bb90b3-a8da-4129-8be3-51ecc5a76256).html.
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Chaltain, Sam. „"The Poet, the Poem, and the People": Etheridge Knight's American Counterpoetics“. W&M ScholarWorks, 1999. https://scholarworks.wm.edu/etd/1539626201.
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Porter, Newell Scott. „"A poem containing history": Pound as a Poet of Deep Time“. BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6326.
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There has been an emergent trend in literary studies that challenges the tendency to categorize our approach to literature. This new investment in the idea of "world literature," while exciting, is also both theoretically and pragmatically problematic. While theorists can usually articulate a defense of a wider approach to literature, they struggle to develop a tangible approach to such an ideal. By examining Ezra Pound's critical approach to poetry, especially in The Cantos, an applicable visualization of a global approach to literature becomes more transparent.
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Peters, Friedrich Ernst. „Der Gewaltige und der Poet“. Universität Potsdam, 2012. http://opus.kobv.de/ubp/volltexte/2012/5891/.
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Weyer, Christine Louise. „Joan Metelerkamp : poet of connection“. Thesis, Link to the online version, 2007. http://hdl.handle.net/10019/734.
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McDowell, Stacey. „Keats and the chameleon poet“. Thesis, University of Bristol, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.654573.
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The 'chameleon poet' is a phrase immediately associated with Keats. Although he only used it once in a letter written early in his poetic career, the phrase has since gained currency in literary criticism and it now invokes a familiar set of assumptions about Keats and his works. My thesis offers a recontextualized understanding of the idea of the chameleon poet by showing how the phrase, rather than being a whimsical and idiosyncratic idea of Keats's own coinage, was in common currency during the nineteenth century, and how the seemingly unlikely analogy between a poet and a chameleon has several antecedents in earlier works. Not only has the chameleon been compared to poets, playwrights and actors, but the creature has been used in a figurative sense to describe a form of self endowed with . the ability to change. By tracing Itne literary heritage of the chameleon, I show how the model of self Keats embraces for the poet has more negative and troubling associations than Keats' s letter acknowledges. While a chameleon-like model of self offers positive attributes of responsiveness and changeability, more commonly the creature is referred to in a pejorative sense to register anxieties about the instability of identity, lack of integrity, capriciousness and duplicity. Having traced the literary context of the chameleon poet, I outline how Keats' s particular use of the phrase has been interpreted in literary criticism. I identify a tendency in scholarly responses to criticise the chameleon poet for its implicit amorality or apathy, or to explain away the idea on the basis that Keats in his poetry does not exemplify the model he set out for himself. However, as I aim to make 'clear in my discussion of Keats's poetry, by exploring ideas about transformation and disguise, sympathetic responsiveness, hypocrisy and the stability of selfhood, Keats's works reveal him engaging in a self-reflective manner with implications directly relevant to a chameleon-like model of .poetic self. By first identifying how Keats differs from the usually negative' interpretation of chameleon changefulness, I show that while Keats embraces the idea of a chameleon-like poet in his letter, his poetry reveals a more circumspective approach in which he registers the consequences that such a model entails.
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Guensberg, M. „Torquato Tasso : Theoretician and poet“. Thesis, University of Reading, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.354075.
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Geater, Charlotte. „Former Young Poet : a novel“. Thesis, University of Kent, 2018. https://kar.kent.ac.uk/67566/.
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Smith, Alex. „Charles Tomlinson : poet of encounter“. Thesis, University of South Wales, 2001. https://pure.southwales.ac.uk/en/studentthesis/charles-tomlinson(6221e80a-b566-49f1-8daf-7f8958ab625d).html.
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Smorodinskaya, Tatiana E. „Konstantin Sluchevsky : the untimely poet /“. The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487950658547887.
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Olson, Ted. „Robinson Jeffers: Appalachian, Californian, Poet“. Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1129.
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Excerpt: April is also National Poetry Month, and this column will focus on an April-themed poem—not one of the many April poems evincing sincere religiosity or forced sentimentality, and not that famous poem that cynically asserts that “April is the cruelest month, breeding / Lilacs out of the dead land.
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Kessenich, Veronica L. „Odilon Redon, the visual poet of Edgar Allan Poe : a study of the lithographic album 'A Edgar Poë'“. Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/14486.
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Odilon Redon, The Visual Poet of Edgar Allan Poe: A Study of the Lithographic Album A Edgar Poe argues that the album A Edgar Poe, published in 1882, fundamentally alters Redon's artistic career. The thesis advocates the importance of Poe's writing to Redon's development, contending that the lithographic album confirms nineteenth-century literary and artistic interest in Poe. The thesis maintains that, while Redon subsequently attempted to disassociate himself from the American writer, his art was recognized and admired for its Poe-esque visions. Chapter One examines Edgar Allan Poe's influence on the nineteenth-century French artistic and literary avant-garde. The chapter argues that the artistic and spiritual resemblance between Poe and Redon facilitates the design the lithographic album A Edgar Poe, a work Redon uses to promote his own standing as an artist. Through examination of the original plates of the lithographic album A Edgar Poe at The Art Institute of Chicago, Chapter Two illustrates Poe's centrality to the evolution of Redon's art. Chapter Three argues for the importance of A Edgar Poe in Redon's oeuvre, contending that subsequent albums and commissions show the important role of literary art in Redon's artistic growth. The chapter demonstrates the significance of Redon's work to the Symbolist avant-garde of Brussels. Utilizing Andre Mellerio's notes, essays, collected letters and writings in the Ryerson & Burnham Library at the Art Institute of Chicago, the thesis argues that the album A Edgar Poe represents a pivotal stage in Redon's career through its dedication to a literary artist and the unification of art and poetry. Contending that the album develops themes prevalent in the noirs, the thesis illustrates the artistic resemblance and relationship between Poe and Redon and emphasizes the crucial role of Poe's work in Redon's progression and acceptance as an artist.
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Groth, Helen. „Defining the woman poet 1837-1896“. Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363862.
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Wilson, Robert Neal. „The American poet : a role investigation /“. New York : Garland, 1990. http://catalogue.bnf.fr/ark:/12148/cb355378740.
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Hand, Angela René. „Francis Hopkinson : American poet and composer /“. Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983125.
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Killick, H. K. S. „Thomas Hoccleve as poet and clerk“. Thesis, University of York, 2010. http://etheses.whiterose.ac.uk/1300/.
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As part of an AHRC-funded interdisciplinary research project, ‘Identification of the Scribes Responsible for Copying Major Works of Middle English Literature’, this thesis re-examines the late medieval poet Thomas Hoccleve in the context of his career as a clerk of the Privy Seal and the history of the late medieval English government administration. Through identification of Hoccleve’s handwriting, it has been possible to search for all the extant documents produced by him for that office now in the National Archives. The evidence drawn from these documents is used to contribute towards a more complete chronology of the poet’s life, and the circumstances under which his poetry was written. Firstly, Hoccleve is used as a case study through which to examine the development of the late medieval English government administration and civil service, and the changing nature of its staff during the late fourteenth and early fifteenth century. Secondly, Hoccleve’s major work, the Regiment of Princes, is examined in the context of his role as a royal clerk, and the proliferation of Middle English political and didactic texts during this period. Finally, the impact of Hoccleve’s use of Anglo-French in official documents and Middle English in his poetry is considered in the context of the mutual culture of influence existing between the two languages. These different approaches to the documentary evidence are used to illustrate the impact of Hoccleve’s position at the Privy Seal on the form and content of his literary work.
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Scoones, Ian Michael. „'I mistrust the poem' : the crisis of representation in contemporary British poetry“. Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343014.
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Chakrabarti, Mandira. „Amiri Baraka : a black modern poet; a study in theme & imagery“. Thesis, University of North Bengal, 2007. http://hdl.handle.net/123456789/1145.
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Hall, Kira Ann. „How Can We Know The Poet from The Poem?: Cross-examining the Poetic Process“. Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556238425343561.
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Tsang, Kam-Kwan. „Xin Qiji (1140-1207) : the guerrilla-poet“. Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26934.
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Horne, Andrew. „Gerard Manley Hopkins, the poet at Penuel“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0032/MQ38381.pdf.
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Dobson, Caroline L. H. „Paul Celan's practice as poet and translator“. Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253774.
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Williams, David. „Beowulf the poet : a deconstruction of narratives“. Thesis, Bangor University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367308.
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Coombe, Clare. „Claudian the poet : poetology, myth, and storytelling“. Thesis, University of Reading, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558749.
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Claudian the poet: poetology, myth, and story-telling The poetry of Claudian has, until recently, been studied principally for the historical information it provides for the late fourth century AD; less attention has been paid to interpreting its poetics, on account of the persistent distaste for the late antique style which has been condemned for its episodic structure and 'baroque' ornamentation. This thesis responds to the failure to examine the poetry through detailed literary analysis, and proposes a method for reading the poetry of Claudian based on the approaches developed by Roberts (1989). It argues that it is the poetics which are used to promote a political agenda in support of Claudian's patron Stilicho. I propose a reading which recognizes that the individual episodes, from which the poems are constructed, unite on an overarching level; in particular, I demonstrate that elements such as mythological images, descriptions and characterizations serve as key signifiers for that level and should be privileged rather than dismissed as ornamentation. This approach reveals the way in which the story-worlds constructed in the poems promote the political agenda which corresponds to the overarching level. The story-worlds created from these significant elements provide a platform on which contemporary events and characters can be (re)performed in order to propagate a particular version of 'real life', corresponding to the agenda of Stilicho. Using story-telling techniques, Claudian constructs a poetic universe under threat from chaos, and defended by a hero, Stilicho, against monstrous enemies. Claudian also manipulates his audience's expectation that poetry is a deceptive artifice. By making metapoetic references to the power of poetry and the poet's ability to deceive, he breaks down the 'fourth wall' between his story-world and the audience's experience of 'real life'. This brings the poetic monsters and heroes flooding into the audience's lives, and turns the story-world into another version of political reality.
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Miyauchi, Kazuko, und 宮內和子. „Reality inhabited by a poet, Nishiwaki Junzaburo“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B30097447.
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Lee, Alexander Christopher. „The philosopher poet : Petrarch's conception of virtue“. Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/24813.
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Francesco Petrarca ('Petrarch') is often referred to as the 'first Renaissance man', a pioneer of humanism and a poet whose influence was both powerful and enduring. Although the validity of the description has been the subject of intensive debate, the importance which has been attached to his humanistic interests and vernacular poetry continues to shape our understanding of his thought, and has significantly affected the way in which his engagement with moral philosophy is perceived. Comparatively little scholarly effort has been made to analyse Petrarch's moral philosophy, but where his ethical concerns have been addressed, his status as a humanist and poet has led to many of his Latin works being viewed as eclectic and frequently contradictory texts. Concerned more with literary imitation than with philosophical consistency, Petrarch is often held to have equivocated between Stoic and Peripatetic positions recovered principally from Cicero, and a fideistic theology derived from St. Augustine, and to have been influenced by a preoccupation with stylistic interests. In this thesis, I offer a reinterpretation of Petrarch's moral philosophy. Although Petrarch's influence on humanistic practice and vernacular poetry is considerable, his reputation as a poet by no means encapsulates either his own view of himself, or the manner in which his contemporaries perceived him. Petrarch not only saw himself as a 'moral philosopher and poet', but also viewed the practice of eloquence as being indistinguishable from the moral philosopher's task. This corresponds to the distribution of Petrarch's works in the late fourteenth and early fifteenth centuries, and also to the opinions expressed by contemporary friends and admirers. Far from being an inconsistent moral aphorist, I show that Petrarch elaborated a coherent system of moral philosophy and I offer a re-evaluation of Petrarch's debt to classical, patristic and medieval thought. Looking first at the Secretum, I argue that, rather than having been a contradictory author motivated primarily by a desire to emulate classical works, Petrarch constructed a consistent notion of virtue based on the early writings of St. Augustine, whose debt to classical literature he knew intimately. I then turn to examine the application of this abstract notion of virtue to a more practical philosophy of living. In chapters dealing with otium, solitude and friendship, Petrarch's treatment of these concepts is shown not merely to have been informed by his assimilation of St. Augustine's theology, but also to have interacted closely with key texts in the history of medieval monasticism. In a final chapter dealing with the relationship between moral philosophy and eloquence, I attempt to demonstrate that, far from having been an unreconstructed 'Ciceronian', Petrarch's rhetorical theory was derived from a more medieval and Christian understanding of the role of oratory, and I offer a new reading of his provocative attacks on the rhetorical claims of contemporary Aristotelians.
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Betty, Michèle Anne. „Metaphysical balm and the poet as legislator“. Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/19969.
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This essay was born of a desire to understand the relationship between poetry and politics in a meaningful and current way. The twentieth century has seen atrocities that have taken place on an unprecedented scale: times of historical and social extremity, states of exile, censorship, military occupation, political persecution, torture, warfare, assassination, apartheid and, more recently, forms of violent terrorism. This essay will consider the function of poetry in a world overcome and consumed by violence. The essay will begin with a consideration of the political function of the ideas expressed in Percy Bysshe Shelley's A Defence of Poetry (hereinafter A Defence). Shelley's notion of the promise of art and what it de facto delivers, and his ideas on the significance of poems in the context of politics will be examined. The essay will then consider the views of the Russian Formalists on how to establish the "literariness" of a text and the ability of a text to "defamiliarise", as well as the devices that can be used by a poet to achieve literariness and defamiliarisation. It will touch on the work of Mikhail Bakhtin and his concepts of folk humour and grotesque realism in a text. Carolyn Forché's idea of poetry as a witness of a lived experience, as enunciated in her text Against Forgetting: Twentieth-Century Poetry of Witness, will be discussed. Thereafter, the essay will consider Viljoen and Van der Merwe's notions of liminality in literature, as expounded in their text Beyond the Threshold, and their explanation of how language can act as a transformative vehicle. In order to illustrate these concepts practically, the essay will analyse two South African poetry collections, namely: Nathan Trantraal's Chokers en Survivors and Oswald Mtshali's Sounds of a Cowhide Drum. The analyses will reveal what distinguishes mere resistance poetry and political diatribe from poetry that is lasting and effective.
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Newcomb, Christine Caroline. „August Wilhelm Schlegel : poet, critic and translator /“. Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/6681.
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Taaffe, Benjamin James Stewart Douglas. „Douglas Stewart poet, editor, man of letters /“. Connect to full text, 1995. http://hdl.handle.net/2123/5765.
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Thesis (Ph. D.)--University of Sydney, 1996.Title from title screen (viewed December 9, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Degree awarded 1996; thesis submitted 1995. Includes bibliographical references. Also available in print form.
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Taaffe, Benjamin James. „Douglas Stewart : poet, editor, man of letters“. Phd thesis, Department of English, 1995. http://hdl.handle.net/2123/5765.
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Rawles, Richard John. „Simonides and the role of the poet“. Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/1446054/.
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This thesis is an investigation of Simonides' construction and problematisation of issues to do with the role of the poet in the world in which he lived, as manifested in parts of his own poems and in his subsequent ancient reception. Chapter 1: A new interpretation of the "Platea elegy" of Simonides. Simonides is shown fashioning a role for himself as a successor of Homer, especially the Homer of the Iliad. Simonides presents a reading of the Iliad which informs and validates his own pan-Hellenic rhetoric, thus creating an important document of the history of Hellenic identity and the "invention of the barbarian." Chapter 2: Simonides' encomiastic and epinician poems are largely lost however, through a new reading of Pindar's Isthmian 2 we can perceive traces of Simonides' engagement with the poetics of praise and changes brought about in the role of the poet through its reception in this problematic poem of his younger contemporary. Chapter 3: Simonides' reputation in antiquity is reflected in an anecdotal tradition rivalled in its interest perhaps only by that of Sappho. Close readings of varied texts, from canonical authors to sub-literary papyri, lexicographical and scholiastic sources, support an argument that reads this tradition as founded upon reception of Simonides' own work: in particular, his negotiation of developments in the role of the poet in the late archaic/ early classical period regarding the impact of changes in economic exchange and patronage. Chapter 4: Theocritus 16 uses the figure of Simonides as an important part of its exploration of the poetics of patronage in the early third century world. However, new papyrus fragments allow a more sophisticated and nuanced reading of his allusions to Simonides. Combined with a closely historical reading of Theocritus' engagement with the ideology of Hieron II's Sicily, these contribute to a reading of the poem which sheds light both on Theocritus' own presentation of the role of the poet in his time, and on Simonides' treatment of similar problems two centuries previously.
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Ávila, Eliana de Souza. „A poet(h)ics of intercultural dissonance“. Florianópolis, SC, 2002. http://repositorio.ufsc.br/xmlui/handle/123456789/82531.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente.Made available in DSpace on 2012-10-19T15:54:42Z (GMT). No. of bitstreams: 1 197661.pdf: 24376555 bytes, checksum: d64a0778d8a12b5e9970b8d70188540b (MD5)
Análise da poética intercultural de Elizabeth Bishop, elaborando uma percepção expansiva de dissonância ou choque cultural, que problematiza os próprios termos através dos quais o pensamento antitético reduz a realidade experiencial. Demonstra inter-relações entre os textos teórico-críticos de Bishop, que engajam sua crise com a concepção linear do tempo narrativo, e a concepção de 'dissonância emancipatória' ou atonal elaborada por Arnold Schöenberg. Demonstra que os mapeamentos de dissonância cultural feitos por Bishop no Brasil desafiam seus próprios modelos esteticistas e solucionistas (lineares, teleológicas) de representação (especificamente, os modelos de transculturalismo e autenticismo), ao se recusarem a resolver a alteridade (do outro e do eu) na uniformidade (consonância), ou mesmo a dissolver seus conflitos, fixando a alteridade num 'passado atemporal' (sic), primitivizado. Examina a crise (a crítica) textual de consciência social e de gênero no corpus brasileiro de Bishop, argumentando que ele se torna valioso justamente porque a autora fracassa, e de modo perturbador, em realizar seu projeto de produzir resolução sobre suas percepções dissonantes da realidade. Engaja uma política irredutível ou ética de leitura que recusa reduzir o texto intercultural de Bishop a seus discursos solipsistas, pelos quais até mesmo atos aparentemente democráticos convergem dissimuladamente com dinâmicas totalitárias.
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Cook, Devon S. „Burke's Poetic Metaphor and Obama as Poet“. BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/4437.
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At the end of Permanence and Change, Kenneth Burke calls for a new orientation toward life and social action which he refers to as “the poetic metaphor” (261). This essay connects Burke's briefly used poetic metaphor with his theories on the use of “poetic” language in the essay “Semantic and Poetic Meaning.” What results from this synthesis is a critical tool for rhetorical analysis which allows for the discussion of style as a vehicle for communication about ethics and morals in public discourse. Obama's The Audacity of Hope is used as the example of a text which uses “poetic” language in order to discuss moral and ethical issues in a national arena. Obama ultimately dramatizes his own synthesis of values, putting himself in the position of a trusted intermediary. This analysis provides clarity on Burke's thinking at the end of Permanence and Change and helps us understand his contribution to the study of rhetoric and cooperation.
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Graves, Jesse, Thomas Alan Holmes und Ernest Lee. „Jeff Daniel Marion: Poet on the Holston“. Digital Commons @ East Tennessee State University, 2015. http://amzn.com/1621901998.
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The author of nine volumes of poetry and numerous other writings, the editor of several literary journals, the recipient of copious awards, including the James Still Award from the Fellowship of Southern Writers, and a longtime teacher and mentor, East Tennessee native Jeff Daniel Marion has come to be known as one of the most significant and beloved voices in Appalachian literature over the past four decades. The twenty-one pieces in this illuminating collection range from examinations of Marion’s poetry to considerations of his teaching career and influence on students, writers, and artists throughout the region and beyond. Acclaimed poet, novelist, and historian Robert Morgan writes about how Marion affected his development as a writer and the key role Marion has played in bringing Appalachian literature into its own. Scholar Randall Wilhelm’s essay, meanwhile, expands our appreciation for Marion not only as a poet but as a visual artist, tracing the connection between his photography and poetic imagery. Also included are essays by John Lang on the ways in which Marion’s poetry “gives voice to a spiritual vision of nature’s sacramental identity,” Gina Herring on how the poet’s father has served as his muse, and George Ella Lyon on the power of story in Marion’s picture book for children, Hello, Crow. Other features include an autobiographical essay by Marion himself, an interview conducted by co-editor Jesse Graves, and a bibliography and timeline that summarize Marion’s life and career. In the book’s introduction, Ernest Lee notes that in the poem “Boundaries,” from his first published collection, the young Marion “dedicated himself to his place, to the land and his heritage . . . welcoming whatever may come with a firm faith that ultimately his life as a poetic laborer will bring him to a true, sharp vision.” The eloquent contributions to this volume reveal just how fully that dedication has paid off.https://dc.etsu.edu/etsu_books/1020/thumbnail.jpg
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Mary, K. V. „John Henry Cardinal Newman : the pilgrim poet“. Thesis, University of North Bengal, 1996. http://hdl.handle.net/123456789/1151.
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Royo, Adrienne J. Salgado María Antonía. „Gabriela Mistral the teaching journey of a poet. /“. Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,749.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.Title from electronic title page (viewed Dec. 18, 2007). '... in partial fulfillment of the requerements for the degree of Doctor of Philosophy in the Department of Romance Languages (Spanish-American Literature) ." Discipline: Romance Languages; Department/School: Romance Languages.
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Wright, Donald A. 1965. „W.D. Lighthall : sometime Confederation poet, sometime urban reformer“. Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60578.
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What follows is not the biography of William Douw Lighthall, 1857-1954, but a chapter in the larger tradition of Canadian intellectual history. Lighthall remained a staunch imperialist, believing that Canada's future would find its fullest expression within the British Empire, and an adament idealist, asserting the primacy of individual responsibility and community rights. Together these two strains of thought, imperialism and idealism, formed the leitmotif of Lighthall's career: as a poet, novelist and anthologist Lighthall never questioned society's values and mores, he stressed them; similarly, as an urban reformer he underestimated the power of organized capital and, in the end, advocated repressive reforms. Although he was neither a particularly good writer nor a particularly effective reformer, Lighthall nonetheless preached a socialist vision of society--organic, collective, as something independent of the individuals who happened to live there.
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Simmonds, Clive. „Publishing Swinburne : the poet, his publishers and critics“. Thesis, University of Cambridge, 2013. http://www.repository.cam.ac.uk/handle/1810/245120.
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This thesis examines the publishing history of Algernon Charles Swinburne during his lifetime (1837-1909). The first chapter presents a detailed narrative from his first book in 1860 to the mid 1870s: it includes the scandal of 'Poems and Ballads' in 1866; his subsequent relations with the somewhat dubious John Camden Hotten; and then his search to find another publisher who was to be Andrew Chatto, with whom Swinburne published for the rest of his life. It is followed by a chapter which looks at the tidal wave of criticism generated by Poems and Ballads but which continued long after, and shows how Swinburne responded. The third and central chapter turns to consider the periodical press, important throughout his career not just for reviewing but also as a very significant medium for publishing poetry. Chapter 4 on marketing looks closely at the business of producing and of selling Swinburne’s output. Finally Chapter 5 deals with some aspects of his career after the move to Putney, and shows that while Theodore Watts, his friend and in effect his agent, was making conscious efforts to reshape the poet, some of Swinburne’s interests were moving with the tide of public taste; how this was demonstrated in particular by his volume of Selections and how his poetic oeuvre was finally consolidated in the Collected Edition at the end of his life. The thesis shows that popular interest was mainly on his earlier poetry, and suggests his high contemporary reputation (which was not fully reflected in sales) was maintained by the periodical press.
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Ford, Paul Karl. „The later W.H. Auden as a Christian poet“. Thesis, University of Aberdeen, 1986. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=130737.
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Roberts, Yvonne Cecily. „Jean-Antoine de Baif : poet to the Court“. Thesis, University of Exeter, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307308.
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