Dissertationen zum Thema „Poetry - literary criticism“
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Nixon, Scott Michael. „A reading of Thomas Carew in manuscript“. Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319053.
Der volle Inhalt der QuellePaleou, Matrona. „Literary criticism, poetry and ideological commitment : C.P. Cavafy and the Greek Left ( 1950-1974)“. Thesis, University of Birmingham, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529793.
Der volle Inhalt der QuelleCapp, Laura. „Poetry by post“. Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/4951.
Der volle Inhalt der QuelleAtanassova, Rossitza I. „Doctrine, polemic and literary tradition in some hexameter poems of Prudentius“. Thesis, University of Oxford, 2001. http://ora.ox.ac.uk/objects/uuid:f74b5c1a-7b1d-42ae-afe7-bebd9aa7caf7.
Der volle Inhalt der QuellePaulsen, Timothy David. „Exploring literary perspectives of poetry though an interactive, multimedia, learning environment“. Diss., This resource online, 1996. http://scholar.lib.vt.edu/theses/available/etd-10032007-172058/.
Der volle Inhalt der QuelleLouw, Denise Elizabeth Laurence. „A literary study of paranormal experience in Tennyson's poetry“. Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002292.
Der volle Inhalt der QuelleMoore, Lindsay Emory. „The Laureates’ Lens: Exposing the Development of Literary History and Literary Criticism From Beneath the Dunce Cap“. Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822784/.
Der volle Inhalt der QuelleMark, Alison Katherine Marshall. „Reading between the lines : language, experience and identity in the work of Veronica Forrest-Thomson“. Thesis, Birkbeck (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362716.
Der volle Inhalt der QuelleCremin, Kathleen Mary. „Women, domesticity and Irish writing : foundations for a new kitchen?“ Thesis, University of York, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313905.
Der volle Inhalt der QuelleKelly, Catriona. „Innokenty Fedorovich Annensky and the classical ideal : poetry, translations, drama and literary essays“. Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:402cf752-742c-4447-ae0c-ffeace85f95c.
Der volle Inhalt der QuelleYoung, Sharon. „The country house in English women's poetry 1650-1750 : genre, power and identity“. Thesis, University of Worcester, 2015. http://eprints.worc.ac.uk/6439/.
Der volle Inhalt der QuelleWang, Ping. „Sturdy steeds, autumn wind, apricot flowers, spring rain : a literary stylistic approach to the lyrics of Li Yu and Li Qingzhao“. Phd thesis, School of Asian Studies, 2000. http://hdl.handle.net/2123/12118.
Der volle Inhalt der QuelleDahroj, Fawaz Ahmad. „The effect of modern linguistics on Arabic literary criticism : the stylistic approach and its application to Arabic poetry“. Thesis, University of Glasgow, 1998. http://theses.gla.ac.uk/6494/.
Der volle Inhalt der QuelleFrance, Angela. „Hide : a 21st century woman's response to the first person in poetry“. Thesis, University of Gloucestershire, 2015. http://eprints.glos.ac.uk/3871/.
Der volle Inhalt der QuelleBusnelli, Gabriele. „Reasoning, Questioning, Perception, Bibliography : The Paths of Knowledge in the Poetry of Callimachus“. University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1583998826913403.
Der volle Inhalt der QuelleChoi, Junho. „Understanding the literary structures of Acrostic Psalms : an analysis of selected poems“. Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85583.
Der volle Inhalt der QuelleENGLISH ABSTRACT: By means of literary, linguistic and comparative literary approaches, this study examines the literary structure of the alphabetical acrostic poems in the Psalms. First, a literary approach is used to analyze the form and content of each alphabetical acrostic poem to show that the literary structure of the poems is varied. Selected Psalms 9-10, 111 and 112 are translated from the Hebrew and compared to ancient Near Eastern languages especially Akkadian and Ugaritic. Second, by means of linguistic approaches, the literary structure of each poem is determined on both micro and macro levels using the researcher’s own translations of these psalms. Furthermore, a comparative literary approach is employed to compare the forms of ancient Near Eastern acrostics, in particular Akkadian, Egyptian and Ugaritic poems, to Hebrew acrostics. The analysis reveals both similarities with other ancient Near Eastern forms as well as the uniqueness of the Hebrew alphabetical acrostic poems. Both linguistic and literary insights are used to determine the relationship between the different forms. The findings suggest that the alphabetical acrostic poems were probably written around or after 1000 B.C.E. since the ancient Near Eastern poems were written before 1000 B.C.E. The unique 22-line form of the Hebrew alphabetical acrostics also indicates that Hebrew thought was distinct from what can be observed in other ancient Near Eastern texts. On the basis of this research, a conclusion is reached and suggestions for future research are made.
AFRIKAANSE OPSOMMING: Deur literêre, linguistiese en vergelykende literêre benaderings ondersoek hierdie studie die literêre struktuur van die alfabetiese akrostiese gedigte in die Psalms. Eerstens word ‘n literêre benadering gebruik om die vorm en inhoud van elke alfabetiese lettervers te ontleed om aan te toon dat die literêre struktuur van die gedigte verskillend is. Die gekose Psalms 9-10, 111 en 112 word uit die Hebreeus vertaal en in vergelyking met die Ou-Nabye-Oosterse tale, veral Akkadiese en Ugarities, bespreek. Tweedens, deur linguistiese benaderings, word die literêre struktuur van elke gedig op beide mikro-en makro vlakke bepaal deur gebruik te maak van die navorser se eie vertalings van hierdie psalms. Verder, word ‘n vergelykende literêre benadering aangewend om die vorms van die Ou-Nabye- Oosterse akrostiese gedigte, in die besonder Akkadies, Egiptiese en Ugaritiese gedigte, met Hebreeuse akrostiese gedigte te vergelyk. Die ontleding toon die ooreenkomste met ander antieke Nabye- Oosterse vorms sowel as die uniekheid van die Hebreeuse alfabetiese akrostiese gedigte. Beide linguistiese en literêre insigte word gebruik om die verhouding tussen die verskillende vorms te bepaal. Die bevindinge dui daarop dat die alfabetiese akrostiese gedigte waarskynlik geskryf is rondom of later as 1000 vC, angesien die antieke Nabye-Oosterse gedigte voor 1000 vC geskryf is. Die unieke 22-reël vorm van die Hebreeuse alfabetiese akrostiese gedigte dui ook aan dat die Hebreeuse denke te onderskei is van wat in ander antieke Nabye-Oosterse tekste gereflekteer word. Gebaseer op hierdie navorsing, word tot ‘n gevolgtrekking gekom, en word voorstelle vir toekomstige navorsing gemaak.
RIS, CYNTHIA NITZ. „IMAGINED LIVES“. University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054222125.
Der volle Inhalt der QuelleAnderson, Robin. „Bridging the Past and the Present: The Historical Imagination in the Criticism and Narrative Poetry of C. S. Lewis“. Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/25482.
Der volle Inhalt der QuelleKaminski, Margot. „Challenging a literary myth, long poems by early Canadian women“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0024/MQ37562.pdf.
Der volle Inhalt der QuelleSoper, Harriet Clementine. „A count of days : the life course in Old English poetry“. Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277493.
Der volle Inhalt der QuelleFasey, Rosemary J. „Writers in the service of revolution : Russia's ideological and literary impact on Spanish poetry and prose, 1925-36“. Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14655.
Der volle Inhalt der QuelleMurdock, Robert Pearson III. „Scarecrow“. University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1195513157.
Der volle Inhalt der QuelleOliveira, Edmon Neto de. „Militância poética – indiscernibilidade entre poesia, crítica e filosofia na escrita de Alberto Pucheu“. Universidade Federal de Juiz de Fora, 2014. https://repositorio.ufjf.br/jspui/handle/ufjf/539.
Der volle Inhalt der QuelleApproved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-28T10:47:29Z (GMT) No. of bitstreams: 1 edmonnetodeoliveira.pdf: 956499 bytes, checksum: 8cae40f024f9cb953dc5f6388467bd6e (MD5)
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FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais
A presente pesquisa faz uma leitura da obra de Alberto Pucheu, trazendo à luz a discussão sobre o fazer poético, crítico e filosófico, vistos como uma atitude criadora. Para o autor, existe uma indistinção entre poesia e filosofia, assim como entre poesia e crítica, que são saberes que se encontram em um “desguarnecimento de fronteiras”, cujo encontro se dá no interior da própria criação. Nessa perspectiva híbrida, buscar-se-á compreender a maneira pela qual ocorre a fusão entre esses campos, privilegiando o pensamento de pós-estruturalistas, como Roland Barthes, Gilles Deleuze e Giorgio Agamben, pensando, por conseguinte, na relação estabelecida entre homem e cidade, imagem e conceito, assim como na aproximação entre corpo e máquina, real e linguagem.
This research takes a reading of the work of Alberto Pucheu, bringing to light the discussion on the poetic, critical and philosophical work, seen as a creative attitude. For the author, there is a lack of distinction between poetry and philosophy, and between poetry and criticism which are knowledges that are in a "dissolving boundaries", whose encounter takes place within the creation itself. In this hybrid approach, will seek to understand the way in which the merger occurs between these fields, focusing on the post-structuralist thought, as Roland Barthes, Gilles Deleuze and Giorgio Agamben, thinking, therefore, the relationship between man and city, image and concept, as well as the rapprochement between body and machine, real and language.
唐梓彬. „任昉及詩文研究 = A study of Ren Fang's life and literary works“. HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1146.
Der volle Inhalt der QuelleBallardini, Anny. „Ghost Dance in 31 Movements“. ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/826.
Der volle Inhalt der QuelleFajardo, Luís Cláudio Costa. „Reflexos Poéticos: diálogos entre Apollinaire, Neoconcretismo, Poema/Processo e a poesia eletrônica de Erthos Albino de Souza, Fernando Nabais, Giselle Beiguelman e Rui Torres“. Universidade Federal de Juiz de Fora (UFJF), 2014. https://repositorio.ufjf.br/jspui/handle/ufjf/4645.
Der volle Inhalt der QuelleApproved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-25T13:31:30Z (GMT) No. of bitstreams: 1 luisclaudiocostafajardo.pdf: 6131532 bytes, checksum: 38b2eb1d694660bb15f044a642b482aa (MD5)
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Esta tese sustenta a hipótese de que o Neoconcretismo e o Poema/Processo, movimentos artísticos e poéticos brasileiros, introduziram conceitos estéticos capazes de fundamentar uma abordagem crítica para a poesia eletrônica. Tal abordagem baseia-se na identificação de três pontos fundamentais comuns entre os movimentos citados e os poemas eletrônicos: a fusão entre os signos verbal e visual na poesia, o corpo físico do espectador como agente na fruição estética e a participação do leitor em processos de criação poética. A investigação teórica realiza-se através da análise de poemas eletrônicos de autores brasileiros e portugueses. Nesta perspectiva, são investigadas as relações destas experiências poéticas eletrônicas com poemas visuais representantes das vanguardas artísticas europeias do início do século XX e com os movimentos pós-concretistas no Brasil, mais especificamente, o Neoconcretismo e o Poema/Processo. O corpus é formado por experiências poéticas eletrônicas de Erthos Albino de Souza, Fernando Nabais, Giselle Beiguelman e Rui Torres.
This doctoral dissertation tries to prove the hypothesis that Neoconcretism and Process Poetry, Brazilian artistic and poetic movements, introduced aesthetic concepts capable of justifying a critical approach to electronic poetry. This approach is based on identifying three fundamental common points between the aforementioned movements and electronic poems: the encounter between the verbal and visual signs in poetry, the physical body of the viewer as agent in aesthetic fruition and the reader´s participation in the creating poetic process. The theoretical research was carried out through the analysis of some Brazilian and Portuguese electronic poems. From this perspective, we attempted to investigate the relationships between the poetic experiences with electronic visual poems which represent the European avant-garde movements of the early twentieth century and the post-concretists movements in Brazil, more precisely Neoconcretism and and Process Poetry. The corpus is made up by some electronics poetic experiences created by Erthos Albino de Souza, Fernando Nabais, Giselle Beiguelman, and Rui Torres.
Alarauhio, J. P. (Juha-Pekka). „Matthew Arnold’s epics:towards a communicative approach“. Doctoral thesis, University of Oulu, 2019. http://urn.fi/urn:isbn:9789529414253.
Der volle Inhalt der QuelleTiivistelmä Tässä väitöskirjassa tarkastellaan Matthew Arnoldin (1822–1888) kirjallista kommunikaatiota, pyrkien välittämään hänen kirjoitustensa merkityksiä 2000-luvun yleisölle. Arnoldin kirjallinen tuotanto on runsas ja monipuolinen, mutta tässä tutkimuksessa keskitytään erityisesti hänen runoepiikkansa tulkintaan. Tämä osa hänen työstään on jäänyt tutkimuksessa verrattain vähäiseen asemaan huolimatta siitä, että Arnoldin kaksi lyhyttä runoeeposta olivat tärkeitä paitsi hänelle itselleen, mutta erityisesti osana hänen kehitystään runoilijana, kulttuurikriitikkona ja ikonisena viktoriaanisen ajan julkisena intellektuellina. Arnoldin runoepiikka vaikuttaa myös tutkivan kommunikaation teemaa laajemmin kuin hänen muut runonsa, ja toimii myös tällä tavoin keskiönä hänen oman kommunikaationsa laajemmalle tarkastelulle. Arnold oli varsin tietoinen kommunikaatiopyrkimystensä haasteista, mutta näitä ongelmia ei ole hänen kuolemansa jälkeen ilmestyneessä kritiikissä aina otettu huomioon. Näin on syntynyt monia Arnold-käsityksiä, jotka eivät välttämättä tee oikeutta hänen kommunikaationsa monivivahteisuudelle. Tämä väitöskirja pyrkii tuottamaan tasapainoisemman kommunikatiivisen lähestymistavan toimiakseen välittäjänä Arnoldin kirjoitusten, eritoten hänen eepostensa, ja nykylukijan välillä
Original papers The original publications are not included in the electronic version of the dissertation. Alarauhio, J.-P. (2012). Towards a Dialogical Approach to Matthew Arnold. In Sell, Roger D. (Ed.) Literary Community-Making: The dialogicality of English Texts from the Seventeenth Century to the Present. (131 - 142) Amsterdam: John Benjamins. Alarauhio, J.-P (2007). Sohrab and Rustum and Balder Dead – Communicating about Communication. In Nordic Journal of English Studies Volume 6, No. 2 (2007), 47 - 64. Alarauhio, J.-P (Forthcoming). Sohrab and Rustum – Matthew Arnold’s Spectacle
Slagle, Judith Bailey. „Literary Activism: James Montgomery, Joanna Baillie, and the Plight of Britain’s Chimney Sweeps“. Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/720.
Der volle Inhalt der QuelleSá, Marina Damasceno de. „A poetagem bonita: edição e estudo de livro inédito de Mário de Andrade“. Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-21022019-130808/.
Der volle Inhalt der QuelleThis thesis aims to research, organize, and prepare the critical edition of articles of literary criticism by Mário de Andrade that focus predominantly on Brazilian Modernist poetry, published in the 1920s and 1930s. These articles are relevant to studies of Brazilian Modernism because they bring to light Mário de Andrade\'s critical reflection on the movement, in the heat of the \"first moment of Modernism.\" This dissertation has a twofold aim: it establishes a reliable and annotated edition of a proposed collection of essays of criticism by Mário de Andrade, whose history and general outline are preserved in the writers archives, and proceeds to undertake a critical study of the material. By bringing greater visibility to documents that are now to be found in Mário de Andrade\'s library and papers, which have been deposited in the Instituto de Estudos Brasileiros da Universidade de São Paulo, this dissertation contributes to expanding our understanding of the historical reception of Brazilian Modernism.
Andersson, Elvis Sofia. „Recensionernas retorik : Om könsroller i kulturjournalistiken“. Thesis, Högskolan Dalarna, Litteraturvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:du-12614.
Der volle Inhalt der QuelleBecker, Charity Dawn. „Constructing the mother-tongue, language in the poetry of Dionne Brand, Claire Harris, and Marlene Nourbese Philip“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0016/MQ54604.pdf.
Der volle Inhalt der QuelleBrooks, Scott A. „To move, to please, and to teach : the new poetry and the new music, and the works of Edmund Spenser and John Milton, 1579-1674“. Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5034.
Der volle Inhalt der QuelleSiegel, Eric Mitchell. „Reading the public comment : the keystone XL pipeline and future of environmental writing“. Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4754.
Der volle Inhalt der QuelleHayashi, Gabriel José Innocentini. „Tensões críticas e culturais em Rilke shake de Angélica Freitas“. Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/4729.
Der volle Inhalt der QuelleUniversidade Federal de Minas Gerais
The object of this dissertation is the book of poems Rilke shake, by Angelica Freitas, and the main question that guided our research was: What are the critical and fundamental cultural issues that inform Angelica Freitas s poetical production in Rilke shake? With this question in mind two objectives were followed: a) to accomplish the reading and analysis of the poems and b) to discuss how the tensions between the poetic tradition and the contemporary world are articulated in the poems. These two objectives were interrelated and linked to enable us to create an interpretative key of Rilke shake. Angelica Freitas establishes a dialogue with European, North American and Brazilian modernist traditions and her work shows a belonging to the post-modern world. Eight Poems from the book were discussed in the attempt at investigating which elements indicate such a dialogue. The cultural system in which Freitas s work takes part and constitutes one of the representative examples was then discussed. Our aim was to show that discussing Rilke shake meant also discussing how contemporary critical thinking looks at contemporary poetry, setting the dialectical movement from the particular to the general and back. The systemic approach offers the reader a larger view, allowing him to understand the importance and the value of Rilke shake inside the discussions concerning contemporary poetry.
Esta dissertação tem como objeto de pesquisa o livro de poemas Rilke shake, de Angélica Freitas. Na introdução, o problema de pesquisa foi enunciado nos seguintes termos: Quais as questões críticas e culturais fundamentais que informam a produção poética de Angélica Freitas em Rilke shake? Os objetivos foram interligados e organizados conjuntamente para a construção de uma chave interpretativa de Rilke shake: (a) realizar a leitura e a análise dos poemas; e (b) discutir de que forma se articulam as tensões nos poemas por meio do diálogo com a tradição poética e com o mundo contemporâneo. Discutiram-se oito poemas; investigou-se como se dá o diálogo de Angélica Freitas com a tradição modernista europeia, norte-americana e brasileira e como sua obra sinaliza um pertencimento ao mundo pós-moderno, verificando quais elementos indicam tal relação. Em seguida, a discussão derivou para o sistema cultural do qual a obra de Freitas participa e se constitui como um dos exemplos representativos. Dessa maneira, discutir a obra Rilke shake significou também discutir o modo como a crítica contemporânea pensa a poesia contemporânea, configurando o movimento dialético do particular para o geral e retornando ao particular. A abordagem sistêmica oferta ao leitor uma visada mais ampla, permitindo-lhe compreender a importância e o valor de Rilke shake no interior das discussões relativas às obras contemporâneas.
Wiechmann, Natalia Helena [UNESP]. „Tell all the truth but tell it slant: subtexto e subversão na poesia de Emily Dickinson“. Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/145002.
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O objetivo desta tese de doutorado consiste em analisar a poesia de Emily Dickinson (1830-1886) sob a perspectiva da crítica literária feminista estadunidense utilizando o conceito de subtexto literário enquanto recurso poético que revele na obra dickinsoniana diversas formas de subversão de normas sociais e literárias do patriarcado. Para isso, nosso corpus de análise se compõe de dezoito poemas e nosso trabalho está estruturado em quatro seções. A primeira discute algumas questões caras à crítica literária feminista estadunidense, como o conceito de autoria feminina e a tradição literária para, então, teorizar sobre o conceito de subtexto literário relacionando-o à ideia de subversão. Também nessa primeira seção analisamos do poema “Tell all the Truth but tell it slant – ”. Já na segunda parte de nossa tese apresentamos o contexto da produção literária estadunidense no século XIX e discutimos o fato de Emily Dickinson ter se recusado veementemente a publicar seus poemas. Os poemas analisados nessa seção são “Publication – is the Auction”, “Fame of Myself, to justify”, “Fame is the tint that Scholars leave”, “Fame is the one that does not stay” e “Fame is a fickle food”. Na sequência, examinamos o ideal de feminilidade do século XIX e as formas como Dickinson subverte esse ideal nos poemas “To own a Susan of my own”, “Her breast is fit for pearls”, “I gave myself to Him – ”, “She rose to His Requirement – dropt”, “Title divine – is mine!” e “I started Early – Took my Dog – ”. Por fim, analisamos poemas em que Dickinson empreende a subversão da imagem de Deus ao apontar as vulnerabilidades da fé e da condição humana e questionar preceitos religiosos: “I never lost as much but twice”, “It’s easy to invent a Life – ”, “A Shade upon the mind there passes”, “God is indeed a jealous God – ” e “God gave a Loaf to every Bird – ”. Como suporte teórico, recorremos a diversos autores que compõem a fortuna crítica de Emily Dickinson bem como a importantes nomes da crítica literária feminista estadunidense, além de outros autores cujos estudos também dialogam com nossa pesquisa. Alguns dos autores utilizados neste trabalho são Virginia Woolf, Sandra Gilbert e Susan Gubar, Elaine Showalter, Betsy Erkkila, Helen Vendler, Maria Rita Kehl, Susan Howe e Carlos Daghlian.
The aim of this dissertation is to analyze the poetry of Emily Dickinson (1830-1886) from the perspective of American feminist literary criticism drawing on the concept of literary subtext as a poetic resource that reveals in Dickinson’s work several ways of subverting the social and literary norms of patriarchy. To these ends, I analyze a corpus of eighteen poems, and the text is organized into four sections. The first section discusses some issues that are important to American feminist literary criticism, such as the concept of female authorship and literary tradition; it is then theorized about the concept of literary subtext and I relate it to the idea of subversion. Also, in this first section, I analyze the poem “Tell all the Truth but tell it slant – .” In the second part of this work, the context of American literary production in the nineteenth-century is presented and the fact that Emily Dickinson emphatically refused to have her poems published is considered. The poems analyzed in this section are “Publication – is the Auction”. “Fame of Myself, to justify”, “Fame is the tint that Scholars leave”, “Fame is the one that does not stay” and “Fame is a fickle food”. After the discussion of the poems, in the third section I examine the ideal of womanhood in the nineteenth century and the ways Dickinson subverts this ideal in the poems “To own a Susan of my own”, “Her breast is fit for pearls”, “I gave myself to Him – ”, “She rose to His Requirement – dropt”, “Title divine – is mine!” and “I started Early – Took my Dog – ”. Finally, in the closing section I study some poems in which Dickinson undertakes the subversion of God’s image, points out the vulnerabilities of faith and human condition, and questions religious precepts: “I never lost as much but twice”, “It’s easy to invent a Life – ”, “A Shade upon the mind there passes”, “God is indeed a jealous God – ” and “God gave a Loaf to every Bird – ”. To provide theoretical underpinning, several critics who have written on Dickinson’s work were consulted and significant names in American literary feminist criticism are also discussed, as well as other authors whose studies intersect with our research as well. Included among the writers, critics and researchers mentioned in our work are Virginia Woolf, Sandra Gilbert and Susan Gubar, Elaine Showalter, Betsy Erkkila, Helen Vendler, Maria Rita Kehl, Susan Howe, and Carlos Daghlian.
Mérot, Guillemette. „Le « canon » des poètes grecs et latins de l’Institution oratoire. : Discours critique, traditions doctrinales, contexte culturel“. Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL084.pdf.
Der volle Inhalt der QuelleThis thesis deals with the "canon" (in the sense of "list of authors considered the best within a given genre") of Greek and Latin poets in chapter 10.1 of the Institutio oratoria. In this treatise on rhetoric from the Flavian period, the canon-list derives from a literary and doctrinal tradition that selects certain authors for inclusion and evaluates them in relation to each other as reading material and models of eloquence. The present work describes the list of authors in chapter 10.1 both as the culmination of a diachronous process of establishing "canons", and, in synchrony, as an emanation of the cultural context specific to Flavian Rome. It questions the dynamic of how the list was established by explaining the motivations behind different operations of "listing" (selection - or exclusion - of authors, establishment of hierarchical relations between them, and critical evaluation of their qualities). It shows that the main critical influences on the different entries in the list are those of Cicero, Horace and Denys of Halicarnassus. In particular, its show that the dynamics of how the list was established is specific to each poetic genre. Accordingly, the present work is located at the confluence of the history of rhetoric and its doctrines, the history of philology, literary history, and the history of ancient literary criticism
Neves, Ana Lúcia Maria de Souza. „Um atalho, uma clareira, coisa assim, no caminho : reflexões sobre os lugares de Henriqueta Lisboa no contexto da literatura brasileira“. Universidade Federal da Paraíba, 2014. http://tede.biblioteca.ufpb.br:8080/handle/tede/6258.
Der volle Inhalt der QuelleCoordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This thesis investigates the dialogue of the writer Henriqueta Lisboa with male and female poets and essayists of her time. We have analyzed the writer s intellectual journey with reference to her position ahether as a poet, au educator and a literary critic, in order to perceive how she presented herself, and how others saw her, as well as the tactics she performed in her dialogue with the Other. We have selected the writings of Henriqueta (letters, poems, anthologies, essays) as our objects of study. In the course of this discussion, we have also included interviews and the poet s own statements, with the objective of broadening our understanding of Henriqueta as a poet, a theorist and a critic. We have sought to employ different theoretical perspectives in this work. In reference to power relations and their implications, interlinked to socio-historic questions about the place occupied by the writer and her work, we have utilized the theories of Michel Foucault (1987; 2004) and Michel de Certeau (1994). In the area of literary criticism we have based our work on Culler (1999), Pellegrini (1999), Perrone-Moisés (2005) Süssekind (2002) and Candido (1999). Regarding the issue of comprehending lyric poetry in tradition and modernity, the theories of Hegell (1993), Steiner (1988), Adorno (2003), Berardinelli( 2007), Hamburger (2007), Elliot (1972), Bosi (1994), (2000), and Paz (2009) have served as the basis. In the discussion on genre, the theories of Del Priore (2001), (2010), Duarte (2003), (2010), Gens (2003), Hollanda (1993), Monteiro (2008), Perrot (2013), Swain & Muniz (2005), and Scott (2011) have served as the foundation.
Esta tese investiga o diálogo da escritora Henriqueta Lisboa com poetas, poetisas e ensaístas do seu tempo. Analisamos o percurso intelectual da escritora no que diz respeito aos lugares por ela ocupados como poetisa-educadora-crítica literária, a fim de perceber de que forma a escritora se colocava e como os outros a colocavam, bem como as táticas mobilizadas pela autora no seu diálogo com o Outro. Elegemos como objeto de estudo: os escritos de Henriqueta (cartas, poemas, antologias e ensaios). Ao longo da discussão, lançamos mão também de entrevistas e depoimentos da poetisa com o objetivo de alagarmos a nossa compreensão de Henriqueta enquanto poetisa, teórica e crítica. Buscamos embasamento teórico em diferentes perspectivas: no que se refere às relações de poder e suas implicações imbricadas nas questões histórico-sociais acerca do lugar ocupado pela escritora e pela sua obra, lançamos mão de Michel Foucault (1987; 2004) e Michel de Certeau (1994); no âmbito da crítica literária nos apoiamos em Culler (1999), Pellegrini (1999), Perrone-Moisés (2005) Süssekind (2002), Candido (1999); sobre a problemática da compreensão da poesia lírica na tradição e modernidade, embasamo-nos em Hegell (1993), Steiner (1988), Adorno (2003), Berardinelli (2007), Hamburger (2007), Elliot (1972), Bosi (1994), (2000), Paz (2009); sobre gênero, alicerçamos a discussão em Del Priore (2001), (2010), Duarte (2003), (2010), Gens (2003), Hollanda (1993), Montero (2008), Perrot (2013), Swain & Muniz (2005), Scott (2011).
Oliveira, Edmon Neto de. „Escrita crítica, escrita criativa e leituras sobre (e com) o esporte: o corpo em movimento ressensualizando a razão“. Universidade Federal de Juiz de Fora (UFJF), 2018. https://repositorio.ufjf.br/jspui/handle/ufjf/6908.
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Esta tese é desenvolvida a partir de diversas leituras analíticas de escritos produzidos por diferentes autores nos últimos três séculos. Textos que no interior dos quais discutiram-se propostas para o ofício da crítica da literatura e das artes que se faz e se experimenta no bojo da inventividade. Em primeiro lugar nutre-se uma concepção, já compartilhada com autores de referência, de que é mais fecunda a crítica que se apropria de seu objeto referencial e a ele se funde, criando uma estrutura nova, dotada do mesmo status da obra abordada e, assim, sendo compreendida no limiar da literatura. A proposta que se torna o problema do trabalho de pesquisa, contudo, é um exercício crítico-performático com um poema sobre o surfe, escrito pelo poeta brasileiro Alberto Pucheu, a partir do qual se busca uma ideia de paradigma para a relação entre a produção crítica e a produção literária hoje. Para tanto, o parâmetro estético da tese mira no tom livre e rigoroso do ensaio, bem como no apelo às experiências corporais de modalidades esportivas acessadas numa correspondência com a experiência artístico-literária. Isso pode ser compreendido na medida do pareamento dessa experiência com os múltiplos movimentos do corpo, na manutenção de uma saúde, assim como preconizam pensadores como Gilles Deleuze. Em seguida, ensaios de envergadura experimental e heterodoxa são produzidos à luz dos parâmetros estabelecidos a priori, na medida em que tecem uma linha de leitura aproximativa entre os fragmentos de Friedrich Schlegel, parte da obra autobiográfica de Henry Miller e os escritos e performances de Roberto Corrêa dos Santos, cada qual ilustrando uma atitude do corpo como sendo correspondente ao ofício de escritores, críticos e artistas que eles são. Cria-se, ao fim, um elo entre os recortes analisados de cada autor, que se solda numa parábola nietzschiana pensada junto com a imagem dos levantadores de peso olímpico. A tese pode, de alguma forma, contribuir para o debate inserido no campo expandido dos estudos literários contemporâneos.
The present thesis is developed from several analytical readings of writings from different authors in the last three centuries, inside which are discussed proposals for the metier of literary and arts review, made and experienced through inventiveness. Firstly, there is a fostered conception, already shared with authors of reference, which sees the criticism which appropriates its referential object and merges with it as more fruitful, creating a new structure endowed with the same status of the work approached and thus being understood at the threshold of the literature. The proposal that becomes the core of this research, however, is a critical and performative exercise with a poem about surfing, written by Brazilian poet Alberto Pucheu, from which a paradigm idea is sought for the connection between the critical and literary production today. Therefore, the aesthetic parameter of this thesis looks at the free and rigorous tone of the essay, as well as the appeal to the corporal experiences of sports modalities approached in correspondence with the artistic and literary experiences. This can be understood through the pairing of this experience with the multiple movements of the body, in the maintenance of health, as advocated by thinkers such as Gilles Deleuze. Subsequently, experimental and heterodox essays are produced in the light of the parameters established earlier, as they weave an approximate reading thread between the fragments of Friedrich Schlegel, part of Henry Miller's autobiographical work and the writings and performances of Roberto Corrêa dos Santos, each illustrating an attitude of the body as corresponding to the craft of writers, critics and artists they are. At the end, a link is created between the analyzed excerpts of each author, welded in a Nietzschean parable thought through the image of the Olympic weight lifters. This thesis may in some way contribute to the debate within the expanded field of contemporary literary studies.
Muniz, Liebert de Abreu. „Estudo de gÃnero em As GeÃrgicas, de VirgÃlio“. Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=8206.
Der volle Inhalt der QuellePara a cultura clÃssica antiga, o gÃnero Ãpico parecia apresentar diferentes formas e possibilidades. à provÃvel que, para os antigos, o metro tenha sido o principal recurso para classificar os gÃneros literÃrios. Assim, um poema vertido em versos hexamÃtricos poderia ser de imediato identificado como um Ãpico. HÃ, contudo, diferenÃas entre os Ãpicos homÃricos e os hesiÃdicos, o que parece reforÃar a hipÃtese de o gÃnero Ãpico poder apresentar manifestaÃÃes distintas. Enquanto os Ãpicos homÃricos sÃo longos quanto à extensÃo e cantam feitos bÃlicos, os hesÃodicos sÃo breves e tÃm a preocupaÃÃo de transmitir um conhecimento. As GeÃrgicas, de VirgÃlio, filiam-se à composiÃÃo de tipo hesÃodico. Ainda que uma influÃncia helenÃstica seja percebida, o poema virgiliano segue caracterÃsticas de estrutura, forma e conteÃdo do Ãpico hesÃodico (que tambÃm pode ser chamado de Ãpos didÃtico); no entanto, em diversos passos parece exceder essas caracterÃsticas, deixando a impressÃo de que tambÃm manteria vÃnculos com a Ãpica homÃrica (ou com o chamado Ãpos heroico). Essa discussÃo sugere que a leitura do poema como didÃtico nÃo parece ser suficiente para sua classificaÃÃo de gÃnero, sugere tambÃm que o poema se insere numa espÃcie de progressÃo poÃtica que perfaz duas formas de Ãpos, o didÃtico e o heroico.
For the ancient classical culture, the epic genre seemed to have different shapes and possibilities. It is likely that, for the ancients, the meter has been the main resource for classifying literary genres. Thus, a poem composed into hexameter lines could be readily identified as an epic. However, there are differences between the Homeric and the Hesiodic epics which seem to reinforce the assumption that the epic genre could have different manifestations. While the Homeric epics are long as for the extent and sing the martial feats,the Hesiodic epics are brief and have the intent of transferring knowledge. The Virgilâs Georgics affiliated to the composition of Hesiodic type. Although a Hellenistic influence is perceived, the Virgilian poem follows characteristics of structure, shape and contents of the Hesiodic epic (which can also be called didactic epos). However, in several passages, the poem seems to exceed these characteristics, leaving the impression that also could maintain bonds to the Homeric epic (or the so-called heroic epos). This discussion suggests that the reading of the poem as didactic does not seem to be sufficient for the classification of genre, it also suggests that the poem is part of a kind of poetic progression that to goes through two forms of epos, heroic and didactic.
Júnior, Luiz Evaristo Garcia. „O Sr. Machado de Assis, poeta indianista: nacionalismo literário do verso para a prosa“. Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-18102011-142534/.
Der volle Inhalt der QuelleThis dissertation aims to introduce an introductory analyses and interpretation on some Machado de Assiss poems (1839-1908) published in the book Americanas (1875), bringing back to a new approach its rare reviewing essays; a systematic presentation for the poems, their launching datum, before they were gathered and published in a book reunion; some reviews received by Machado right after publishing them, especially those from Sílvio Romero (1857-1914); and some changes made by Machado as a direct reaction to those reviews. We try to analyze how Machado redirected and recreated some literary pieces of work over those years considered as Brazilian formative ones, when forms of nationalism, such as indianism, was the main topic for writers committed to represent their national identity. Therefore, we analyze two short stories entitled Mariana, published in different dates separated by the composition of a poem from Americanas named Sabina, of which its theme links to the other two short stories. Through the reading of those fictional texts, as well as including some reviews written by Machado, we search for a reading focused on the importance of Machados poetry as a gear wheel for moving forward his prose works.
McIntyre, James Stuart. „Written Into the landscape : Latin epic and the landmarks of literary reception“. Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/543.
Der volle Inhalt der QuelleSantos, Max Jefferson dos. „A poética contemporânea de Caetano Veloso por meio da literatura de quatro canções“. Universidade Federal de Alagoas, 2008. http://www.repositorio.ufal.br/handle/riufal/1478.
Der volle Inhalt der QuelleAnálise da poética-musical de Caetano Veloso em “London, London” (1970), “Adeus, meu Santo Amaro” (1971), “Sampa” (1978) e “Meu Rio” (2000) como tradução do comportamento do artista contemporâneo diante da presença imagética da cidade, cuja força produtiva leva o sujeito lírico, segundo uma visão negativista mas producente do ser poético, a tornar-se, além de espectador da realidade, o veículo e a linguagem pela qual se organiza o texto. Por isso, a cidade não é exclusivamente tema, mas, antes de tudo, desempenha papel discursivo, orienta a visão e produz uma imagem do real. Portanto, Caetano será observado como um músico-poeta contemporâneo que absorveu as propostas da tradição do moderno, segundo a teoria de Octavio Paz, e as categorias da negatividade, propostas por Hugo Friedrich, estabilizando-se num espaço mais consciente onde essas categorias, já descontextualizadas em relação à primeira modernidade, atualizam suas imagens e sentido poéticos, dentro da contemporaneidade, onde Danto a classificará como um estilo de usar estilos.
NUNES, OZEAS DA SILVA. „INSPIRAÇÃO NORDESTINA: UMA LEITURA TEOLÓGICA NA POÉTICA DE PATATIVA DO ASSARÉ NA POENTE DO DIÁLOGO ENTRE TEOLOGIA E LITERATURA“. Universidade Metodista de Sao Paulo, 2008. http://tede.metodista.br/jspui/handle/tede/1577.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
This thesis analyses the poetry of a famous writer from Ceara, Antonio Gonçalves da Silva, best known as Patativa do Assaré. This research is based on a literary criticism, specifically of those texts elaborated by Antonio Cândido that deal with issues related to history and society, and on a discussion about the establishment of a dialogue between theology and literature. The perspective of Eli Brandão points out the need of rewriting a literary text taking as reference sacred texts, will be useful for the achievement of this very purpose. With these two approaches, Cândido’s and Brandão’s, this investigation aims to find out its plausibility through out the dialogue between theology and literature. In other words, in Assare’s writings it is possible to perceive existential questions regarding the everyday problems in the lives of those who live in the sertão. The aspects highlighted in his poems lead to several theological questions and themes revealing, not only the hard reality of the northeastern Brazilian people, but also their faith, hopes and beliefs. The God presented by Pataiva do Assaré is not a God that repays you for the bad things you have done to others, but a God that sees the sufferings, exclusions and illnesses of those who are abandoned in the sertão. Therefore, we believe that the proposal to study Assare’s poetry from a theological point of view could be a good way to bring out those “northeastern theological themes” that came out as a result of the contact between the poet and Catholicism; topics that according to Assare’s thought bring out new meanings and interpretations.
Este trabalho se propõe estudar a obra do poeta cearense Antonio Gonçalves da Silva, conhecido como Patativa do Assaré. O estudo de tal obra encontra-se alicerçado na crítica literária, sobretudo no conceito de textos histórica e socialmente ancorados elaborado por Antonio Cândido, e na discussão do diálogo entre teologia e literatura, a partir da idéia de reescritura de um texto literário a partir de textos sagrados, de Eli Brandão. Dessa forma objetiva-se localizar, no contexto brasileiro, a partir do diálogo entre teologia e literatura, a plausibilidade de nossa pesquisa, ou seja: ao longo da produção literária de Patativa do Assaré, encontramos questões existenciais provocadoras de diversas aflições percebidas no cotidiano do povo sertanejo, as quais nos remetem a questionamentos e temas de cunho teológico, notados através da obra de um poeta, reveladora não somente da dura realidade do nordestino, mas também da fé e esperança deste em um Deus, visto ao longo da poética de Patativa do Assaré não como fonte de castigo, mas percebido como um Deus sensível aos sofrimentos, mazelas e marginalização dos nordestinos desamparados. Assim, acreditamos na proposta de estudar a poética patativana sob a perspectiva de “um olhar teológico”, a partir do qual se percebe “temas teológicos nordestinos”, elaborados a partir do contato do poeta com o catolicismo do sertão, mas que, na percepção e compreensão de mundo de Patativa assumem novos significados e novas interpretações.
Damasceno, Rodrigo Lôbo. „Situação do autor na poesia moderna: Fernando Pessoa e Ezra Pound“. Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-29062015-151506/.
Der volle Inhalt der QuelleThis dissertation proposes a comparative study of critical and poetic works by Fernando Pessoa and Ezra Pound, based on the central hypothesis that the joined reading of their texts enables a privileged angle of analysis with respect to their specific procedures as well as to the axial aspect of modern poetry and its constituting tensions. As such, the present study focuses on the formal strategies utilized by the poets in their quest for poetic depersonalization (whether in their writing of poetry, or in their reading and critique): the phenomena of heteronymia and of persona. The organizing axis of this reading is framed within the relation of both authors to literary tradition understood as an archive of writings that is bestowed upon the contemporary (modern and anti-modern) poet for conservation and renovation, forcing them to assume a negative position towards the more severe vanguard manifestations, namely towards Italian Futurism. Tradition, supposedly dead at the hands of vanguard decrees, must therefore relive and return in the works of Pessoa and Pound who find in criticism, in the experience of the voice (of the multiplicity of voices that founds and conforms poetry) and in translation the means by which it can return. The ideals of a poetic depersonalization, crystallized in the expedients of the persona and heteronymia (but set in movement also through translation and critical pages) are hence understood as crucial steps in the search for conservation and renovation of the voices that come from tradition. Situated in a period of aesthetic extremisms (from which they are never far themselves), Pessoa and Pound are read as milestones in which poetic modernity is effected at the same time as it is betrayed, where the new and the old have their definitions blurred, bringing about a definition of modernity that is composed by its very own indefiniteness and contradictions.
Langdell, Sebastian James. „Religious reform, transnational poetics, and literary tradition in the work of Thomas Hoccleve“. Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a2e8eb46-5d08-405d-baa9-24e0400a47d8.
Der volle Inhalt der QuelleNogueira, Fernanda Ferreira Marcondes. „Políticas estéticas e ocupações poéticas: uma genealogia (im)possível a partir do concretismo brasileiro“. Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-06052010-134321/.
Der volle Inhalt der QuelleWhat potentiality still remains concrete poetry? What can allow it to continue to intervene in the present? By re-establishing their link with constructive art tendencies emerged in Brazil since 1950s, and taking concrete poetry as a multidimensional experience, we expose some of the conflicts inscribed in the politics of aesthetics of concrete poetry political project to put forward a different genealogy which is not based on its formal analysis only. Rather, how those radical aesthetics pervades the social structure, the public sphere, the common and the mass communication medium, echoing through the alternative artistic networks. We also point out some discussions that have been attempting to constitute or demarcate concrete poetry in an opposite way of its motives that subvert definitions and bring down the temporal frame of literary historiography. In this way, the first section proposes a macro-political panorama of this poetry production, in the following sections, some different ways of micropolitical resistance are emphasized.
Tilbury, Simon John. „The dancer walking the ruins : Laura Riding and dialectical thought“. Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/290212.
Der volle Inhalt der QuelleKchouk, Ayachi Khedija. „L'héritage du soufisme dans la poétique arabe contemporaine“. Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAC018/document.
Der volle Inhalt der QuelleThe first chapter in this study presents the poetic thinkers, poets and critics alike, in the traditional Arabic heritage until the fourteenth century by making a synthesis. The second chapter presents Sufism in outline and in what distinguishes it as an existential approach throughout the Islamic view. These same characteristics are reflected in the third chapter through the poetic production of three of its most famous representatives namely Rabia Al-Adawiyya (d. 725), Umar Ibn Al-Fâridh (d. 1235) and Mohyî Al -Dîn Ibn Arabi (d. 1240). The analysis shows that in their respective works, they also had three different approaches to poetic creation. Rabia with her quest for purification uses it as a catharsis, Ibn Al-Fâridh, with his quest to spread his Sufi faith through his Al-Tâiyya Kubrâ (The Great Tâiyya),tries to impregnate his own Sufi liver faith, and Ibn Arabi, with his plan to refute any writing stable and rigid trough his collection of poems Turjumân Al-Achwaq (the interpreter of desires), seeks to establish an ideal "Text ".Thus we can conclude that these Sufi poets had three different approaches to poetic creation. The analysis of their respective writings demonstrates that "issuer", "receiver" and "message" are the three core interests of these three Sufi poets. In the fourth chapter of this study, three poetic works of three contemporary poets are analyzed to detect the Sufi watermarks of these poems. It is Al-Tufan Al-Aswad (The Black Flood) of Muhammad Miftâh Al-Faytûrî (1936 - ...), Al-Kibrît wa Al-Asâbi (The Match and the Fingers) of Nizar Qabbâni (1923-1998), and Qasîdat Al-Takwîn The Poem of the Genesis of Adonis (1930 - ...). Their analysis proves the influence of Sufism in the practice of the creation of Arabic poetry. The fifth chapter demonstrates this Sufi legacy in poetic theories in contemporary Arab thought and its influence in the establishment of three different poetic approaches constituting the so-called " the Purifying School," " the Impregnator School" and "the Refutation School", these theories take no account of the literary corpus described in the first chapter. Besides the translation of Claudine Chonez of "Great Tâiyya," the poems are cited in Appendix at the end of the study with a personal translation, which, although it does not claim to reflect in any way the depth and beauty of Arabic poems, she does not despair for the many suggest
Elzière, Sophie. „Nuées d'oiseaux et crocus évangiles. Ted Hughes et le poème de l'être complet“. Thesis, Sorbonne université, 2021. https://tel.archives-ouvertes.fr/tel-03789589.
Der volle Inhalt der QuelleThis thesis explores Ted Hughes’s poetic work and focuses on the question of the completion of being and of language. The poet sheds light on the man of ‘logos’, heir to Socrates and Descartes, criminal because he wanted, by the sole force of his rational mind, to own and control the outer world of nature and to be the master of the inner world of his individuality, body and soul alike. The myths and stories that fill Ted Hughes’s poetic and critical work trace the trajectory of a human being who has acknowledged the harm he has done and asks for forgiveness to the Goddess of Complete Being, both his Mother-Earth and Sacred Bride, both Queen of Hell and Flower of Paradise. As he surrenders to her unconditionally, an ultimate and ‘last-ditch miracle’ occurs, one that reveals his true and divine ‘self at the source’, his ‘vital nucleus’ and ‘the most inaccessible thing of all’. According to the poet, one should speak like the animals and the birds that, far beyond human words, manage to ‘express this being pure and without effort’ and a truth ‘at the core of us – strange, beautiful, pathetic, terrible’. One should decipher the inaudible music of the wind, the grass and the rocks, because it bears the truth of a nameless Goddess, the ‘Annunciation of clay, water and sunlight’, or the ‘crocus evangels’, which tell man that he should take all the risks throughout his journey. The human being that the poet describes has a black wound on his body and a rainbow jewel in his soul; he has been through the softness of agony and the sorrows of ecstasy – and thus he feels the inmost core of being and of language, and the secret of the magic spell cast by poetry
Antunes, Angie Miranda. „A poesia de W.H. Auden no arco do tempo entre a modernidade e a pós-modernidade“. Universidade Federal de Juiz de Fora (UFJF), 2014. https://repositorio.ufjf.br/jspui/handle/ufjf/4634.
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Este trabalho perscruta tanto a obra poética quanto a produção crítico-teórica W. H. Auden (1907-1973) com o intuito de desvelar as nuances da passagem da modernidade para a pósmodernidade no âmbito literário. A trajetória deste poeta anglo-americano ao longo de seus 45 anos (1928-1973) de produção nos permite vislumbrar e acompanhar as alterações da sua lírica, sempre atrelada às questões sociais e existenciais de seu tempo. A fim de mapear as marcas do trânsito de Auden entre a modernidade e a pós-modernidade, sem descurar da reflexão acerca das mesmas, fez-se necessário cotejar as teorizações do poeta com outros autores para tratarmos de numerosas questões, dentre as quais, destacamos linguagem, poesia, sujeito, sociedade, história, crítica literária. Tais procedimentos nos permitiram a seleção de um conjunto de poemas representativos das mudanças verificadas nos modos de Auden conceber a poesia e as suas funções sociais e existenciais, poemas estes analisados pari passu com nossas considerações teóricas.
This paper investigates both the poetic work and the critical-theoretical production of W. H. Auden (1907-1973) searching to unveil the nuances of the passage from modernity to postmodernity in the literary context. The way made by this Anglo-American poet throughout his 45 years (1928-1973) of production allows us to perceive and track changes in his lyric that is always linked to social and existential issues of his time. In order to follow Auden’s path between modernity and postmodernity, without neglecting the reflection about them, it was necessary to put side by side the theoric thoughts of the poet with those from other writers to talk about many issues, among which we highlight language, poetry, subject, society, history, literary criticism. These procedures allowed us to select a set of representative poems of real change in the ways that Auden conceives poetry, and its social and existential functions, these poems were analyzed pari passu with our theoretical considerations.