Dissertationen zum Thema „Whitman, walt, 1819-1892, concordances“
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Nautiyal, Nandita. „"This self is Brahman" : Whitman in the light of the Upanishads“. Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26747.
Der volle Inhalt der QuellePreston, Nathaniel H. „Passage to India and back again : Walt Whitman's democratic expression of vedantic mysticism“. Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/902498.
Der volle Inhalt der QuelleDepartment of English
Janssen, David. „Walt Whitman's Poetics of Labor“. PDXScholar, 1993. https://pdxscholar.library.pdx.edu/open_access_etds/4593.
Der volle Inhalt der QuelleFillard, Claudette. „Walt Whitman, poète des éléments“. Paris 4, 1987. http://www.theses.fr/1987PA040072.
Der volle Inhalt der QuelleWhile many critics have stressed the importance of the four elements in Whitman's works, a thorough study of their influence on his imagination, sensitivity and theory of poetry has long been overdue. Whitman's use of "elements" and some cognate words shows how easily "elements" become "aliments" and "aliments", and unsettles the traditional vision of the poet's unruffled optimism. Trying to assess the specific role of each of the four elements in his writings, one realizes that if water is equal to its reputation, air, earth and fire are worth rehabilitating. Fire, above all, seems to have a peculiar, disturbing status which has been unduly minimized. But the exploration becomes much more rewarding when one gets rid of the straitjacket of the elementary "quaternion" and resorts to a more variegated approach. A careful perusal of the part played by the elements in Whitman's celebration of the "body electric", in his conception of space and time and variable
Choay-Lescar, Pauline. „Formes de l'absence chez Walt Whitman“. Paris 3, 2000. http://www.theses.fr/2000PA030099.
Der volle Inhalt der QuelleBrown, Bryce Dean. „Whitman's Failures: "Children of Adam" in the Light of Feminist Ideals“. Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc503937/.
Der volle Inhalt der QuelleGambarotto, Bruno. „Walt Whitman e a formação da poesia norte-americana (1855-1867)“. Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-21052007-145634/.
Der volle Inhalt der QuelleThe purpose of this dissertation is to analyze some of the decisive moments in the making of North American poetry, determined by the development, from 1855 to 1867, of the four initial editions of Walt Whitman\'s Leaves of Grass. The choice of these remarkable moments serves to underline the engaged feature of Whitman´s poetical accomplishment, which implied not the mere transposition of European literary thought into the New World, but mainly the formal constitution of a national poetry fit for the social environment of the United States. In this sense, the analysis of these four Leaves of Grass´ editions (1855, 1856, 1861, 1867) presupposes two complementary ways: firstly the acknowledgment of Whitman´s poetry as a response to the social tensions in North American midnineteenth century, when modernity, led by free labor and industrialization, collides with colonial and pre-modern social structures, based upon slavery and the very descentralized commercial Republic constitution; secondly the literary configuration of these tensions, in which we observe elements of the literary Romanticism dialetically linked to local forms of expression, some of them alien to the literary achievements of the Old World, but reinforced by the founding project of a national literature. To attend these questions, this dissertation recovers the long tradition of Walt Whitman studies - dedicated in the present time to the historical revisioning of the poet´s works centered almost exclusively in the North American social experience - by the light of the Brazilian critical tradition, in which very important concepts and debates over the periferical position of New World literatures were consolidated. This theoretical perpective allows us not only to place Leaves of Grass in a wider perspective of New World literatures but also to build a indirect comparative view that rests upon some important questions to the North American and Brazilian literary traditions, as the engaged ethos of their literary elites; the search for new literary forms; the lyrical affirmative representation of national individuals; the economical and ethical responses to slavery; and the ambiguous and contradictory relation with European literary movements.
Lundy, Lisa Kirkpatrick. „Reverberating Reflections of Whitman: A Dark Romantic Revealed“. Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc279061/.
Der volle Inhalt der QuelleSaraiva, Junior Gentil. „Re-creating Walt Whitman's Leaves of Grass into portuguese“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/15552.
Der volle Inhalt der QuelleThis work focuses on the creative translation of Walt Whitman’s poetry into Portuguese. The term that we use to refer to this process is re-creation, which is a type of translation that goes beyond literal translation (which favors the signified), searching for a work of conjoined reconstruction of signified and signifiers, due to the profound relation that exists between them (chapter 3 explains this method of creative translation; it also discusses the themes that are related to this in poetry, such as free verse, rhythm, meter, etc.). The term re-creation was borrowed from our masters in this type of translation, the Brazilian Concretist poets: Haroldo de Campos, Augusto de Campos and Décio Pignatari. In English, we use this word hyphenated, “re-creation” (and its derivatives), due to the fact that “recreation” indicates only diversion, an activity that is performed for relaxation and pleasure, and not “creating again”. It is necessary to remember that the precursor in this translatorial field, of translation which is also creation, was Ezra Pound, who brought us the idea of constant renewing of poetry via translation, and who is given more attention in sections 3.2 and 3.3. There are other translations of Whitman’s works in Portuguese, including a complete edition of Leaves of Grass by Martin Claret publishing house (2005), of which we provide an account in section 2.2, however, none of them was carried out in a similar way to our own. Thus, the work we present here is original, although it is not complete. In the body of this dissertation, in chapter 4, we present the re-creation of twenty literary pieces, among poems and books, from Leaves of Grass, which is the volume that assembles the complete poetry of Whitman. Within the re-creations presented here, there is the poem “Out of the Cradle Endlessly Rocking”, which is part of Sea-Drift, and which had been added as an annex to our Master’s thesis. This poem has been revised and corrected, and has been included here in order for the Sea-Drift cluster to be complete. In section 2.1 there is an explanation about the publishing history of Leaves of Grass. In addition to the historical context of this publication, chapter 2 presents a critical analysis of the works, author, and a central symbol in the Leaves, which is the calamus root. The re-creation of “Calamus”, as well as of “Children of Adam” and “Song of Myself” appears in our Master’s thesis (SARAIVA, 1995).
Katsaros, Laure. „Le rivage dans la poesie americaine : walt whitman, hart crane, george oppen“. Paris 7, 2000. http://www.theses.fr/2000PA070070.
Der volle Inhalt der QuelleMontoya, Gálvez Natalia. „Poetic intimacy: poet and reader : the exploration of prophetic voice in Blake and Whitman“. Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/137771.
Der volle Inhalt der QuelleKenaston, Karen S. „An Approach to the Critical Evaluation of Settings of the Poetry of Walt Whitman: Lowell Liebermann's Symphony No. 2“. Thesis, Online resource, 2003. http://www.library.unt.edu/theses/open/20031/kenaston%5Fkaren/index.htm.
Der volle Inhalt der QuelleOriginal copy accompanied by 3 recitals, recorded Apr. 27, 2000, Nov. 28, 2000, and Oct. 31, 2001; videocassette not dated. Lacking in UMI copy. Includes bibliographical references (p. 141-149).
McHenry, Patrick J. „With music strong I come : Whitman's cultural influence through folk music“. Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/287.
Der volle Inhalt der QuelleBachelors
Arts and Sciences
English Literature
Morales, Muñoz Víctor. „Whitman's body and soul politic in Leaves of grass: a scientific and sensory reinvigoration of the United States“. Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/137778.
Der volle Inhalt der QuelleDuarte, Carina Marques. „Quando parte o último comboio? : Álvaro de Campos, um seguidor decadente de Walt Whitman e Nietzsche“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/117936.
Der volle Inhalt der QuelleThis paper analyzes the production of Álvaro de Campos - heteronym of Fernando Pessoa - in relation to two strong lines: the poetry of Walt Whitman and the philosophy of Friedrich Nietzsche. It seeks to prove that the poems of the second phase, the euphoric, are invested with a power to will which is manifested especially in the sensationist impetus to try everything and in the analogy between the American bard and the philosopher. Heir to the Decadentism, Campos cannot keep the vitalist and dynamistic discourse and often a depressing tone pervades his texts. On these occasions, the lyrical, rather than being marked by the will to power, assumes a decadent feature, which will predominate in the later stage. We intend to show that, despite the fatigue, boredom, lethargy and lucidity, there is in the dysphoric Campos a power to will. In order to examine the poems of the euphoric poet we will seek support in the concept of intertextuality, using the studies of Kristeva, Bakhtin, Laurent Jenny, Gérard Genette, Leyla Perrone-Moisés and Tiphaine Samoyault. With the objective of perceiving how the heteronym gives new meaning to legacy of Whitman and Nietzsche, we will follow in the analysis, the comparative methodology of search of analogies and differences. Of great value will be the approaches of George Steiner, Eduardo Lourenço and Octavio Paz, among others. In the same proportion, will be important for the understanding of the dysphoric Campos, the collocations of Nietzsche on nihilism and Steiner's arguments about the inherent sadness in thought. Warped with inflows of Nietzsche and Whitman, the will to power leads Campos, like his predecessors, to consider himself divine. However, because he is too conscious Campos cannot persist in the intoxication of Sensationism. Then, he left with expressing the will to power through the idea of the permanence of the work.
Este trabajo analiza la producción de Álvaro de Campos – heterónimo de Fernando Pessoa – en relación a dos líneas de fuerza: la poesía de Walt Whitman y la filosofía de Friedrich Nietzsche. Busca comprobar que los poemas de la segunda fase, la eufórica, a causa del prolífico diálogo con el bardo norte-americano y el filósofo, están investidos de una voluntad de potencia, la cual se manifiesta, especialmente, en el ímpetu sensacionista de probarlo todo y en la analogía entre el poeta y Dios. Heredero del Decadentismo, Campos no consigue mantener el discurso vitalista y dinamista y, frecuentemente, un tono depresivo invade los textos. En esas ocasiones, el yo lírico, en lugar de presentar voluntad de potencia, manifiesta rasgos decadentes, que dominarán en la fase siguiente. Pretendemos mostrar que, no obstante el cansancio, el hastío, el abatimiento y la lucidez, hay, en el Campos depresivo, una voluntad de potencia. A fin de examinar los poemas del poeta eufórico, nos basaremos en el concepto de intertextualidad, recurriendo a los estudios de Kristeva, Bakhtin, Laurent Jenny, Gerárd Genette, Leyla Perrone-Moisés y Tiphaine Samoyault. Con el objetivo de percibir el modo como el poeta resignifica la herencia de Whitman y Nietzsche, adoptaremos, en el análisis, la metodología comparatista de la búsqueda de las analogías y de las diferencias. Serán muy valiosos los aportes de George Steiner, Eduardo Lourenço y Octavio Paz, entre otros. Del mismo modo, serán importantes, en el abordaje del Campos depresivo, las aserciones de Nietzsche con respecto al nihilismo y los argumentos de Steiner en relación a la tristeza inherente al pensamiento. Entretejida con los influjos de Whitman y Nietzsche, la voluntad de potencia conduce Campos, a ejemplo de los antecesores, a considerarse divino. Sin embargo, demasiado consciente, Campos no puede seguir en la ebriedad del Sensacionismo. Quédale, pues, manifestar la voluntad de potencia a través de la idea de permanencia de la obra.
Hennequet, Claire. „L'identité poétique de la nation. Walt Whitman, José Marti, Aimé Césaire“. Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030085/document.
Der volle Inhalt der QuelleIn 19th and 20th centuries America and West Indies, the national poet’s works lay at the centre of a traffic of images. This traffic feeds the fragile social ties of young collectivities, at a time when communities are bound by imagination rather than by direct contact between their members. Distancing themselves from the representations of the community circulating at that time, like the exotic images of the New World’s nature, the poet offers an ambitious democratic vision for the future which is channeled through images of the territory, the people, slavery and history. The poet’s ethos encourages the reader to appropriate this discourse by presenting the author as a role model. However, it is mainly thanks to his style, at odds with the literary norms of his time, that the poet is able to act upon society. Whitman, Martí and Césaire do not so much contrive to capture their people’s spirit, as they participate through their work on the fragment, on popular poetical forms or on the destabilizing of meaning, in the creation of a common devenir
Cavalcanti, Marly Gondim. „Anáĺise músico-literária dos poemas de Walt Whitman, Antônio Francisco da Costa e Silva e Léopold Sédar Senghor“. Artois, 2006. http://www.theses.fr/2006ARTO0003.
Der volle Inhalt der QuelleThis thesis examines the presence of the music in the poligraphic poetics of Walt Whitman, Antonio Francisco da Costa e Silva and Léopold Sédar Senghor ; They are different about time of literary production , about culture and about language, but they are also similar in the creative process in requesting the sound-musical lexicon as integrant and essential element, not characterized as a literary decoration. As an art of dynamogenic character music constitutes the starting point for the dialogue among the three authors selected in the sense of the musical forms, of the mentions to the sound-musical universe and of the intertextuality with musical works. So, music appears as an alternative for studying and for analysing literary works founded in the interartistic relationship. This thesis leans on in the quantiqualitative approach, requiring the computational program called Stablex, appropriate for the treatment an automatic processing of texts for the lexical and textual analysis. This program also makes possible the simultaneous work with hundreds of texts, supplying statistical-descriptive information, besides lexicons and tables, determining the importance and weight of the items selected for the research in an objective and scientific way
Upton, Corbett Earl 1970. „Canon and corpus: The making of American poetry“. Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11286.
Der volle Inhalt der QuelleThis dissertation argues that certain iconic poems have shaped the canon of American poetry. Not merely "canonical" in the usual sense, iconic poems enjoy a special cultural sanction and influence; they have become discourses themselves, generating our notions about American poetry. By "iconic" I mean extraordinarily famous works like Henry Wadsworth Longfellow's "Paul Revere's Ride," Walt Whitman's "Song of Myself," and Claude McKay's "If We Must Die," that do not merely reside in the national memory but that have determined each poet's reception and thus have shaped the history of American poetry. Through case studies, I examine longstanding assumptions about these poets and the literary histories and myths surrounding their legendary texts. In carefully historicized readings of these and other iconic poems, I elucidate the pressure a single poem can exert on a poet's reputation and on American poetry broadly. I study the iconic poem in the context of the poet's corpus to demonstrate its role within the poet's oeuvre and the role assigned to it by canon makers. By tracing a poem's reception, I aim to identify the national, periodic, political, and formal boundaries these poems enforce and the distortions they create. Because iconic poems often direct and justify our inclusions and exclusions, they are of particular use in clarifying persistent obstacles to the canon reformation work of the last thirty years. While anthologies have become more inclusive in their selections and self-conscious about their ideological motives, many of the practices regarding individual poets and poems have remained unchanged over the last fifty years. Even as we include more poets in the canon, we often ironically do so by isolating a particular portion of the career, impulse in the work, or even a single poem, narrowing rather than expanding the horizon of our national literature. Through close readings situated in historical and cultural contexts, I illustrate the varying effects of iconic poems on the poet, other poems, and literary history.
Committee in charge: Dr. Karen J. Ford, Chair; Dr. John T. Gage, Member; Dr. Ernesto J. Martinez, Member; Dr. Leah W. Middlebrook, Outside Member
Phiri, Aretha Myrah Muterakuvanthu. „Toni Morrison and the literary canon whiteness, blackness, and the construction of racial identity“. Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002255.
Der volle Inhalt der QuelleCristo, George Constantine. „Unraveling Walt Whitman“. Thesis, 2007. http://hdl.handle.net/1805/899.
Der volle Inhalt der QuelleTitle from screen (viewed on Apr. 27, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 65-70)
„Representations of the American Civil War: Whitman, Crane and Bierce“. 2007. http://library.cuhk.edu.hk/record=b5893323.
Der volle Inhalt der QuelleThesis (M.Phil.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (leaves 105-109).
Abstracts in English and Chinese.
Abstract --- p.i
論文摘要 --- p.iii
Acknowledgments --- p.iv
Introduction --- p.1
Chapter Chapter One: --- A Romantic Poet with a Roving Vision: Walt Whitman's Poems --- p.20
Chapter Chapter Two: --- A Medley of Images: Stephen Crane's Youthful War --- p.45
Chapter Chapter Three: --- Survivors under Siege: Ambrose Bierce's Modern War --- p.71
Conclusion --- p.100
Works Cited --- p.105