Dissertations / Theses on the topic 'Eco poetic'
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Hsu, Li-Hsin. "Emily Dickinson's poetic mapping of the world." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7573.
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This thesis investigates Emily Dickinson's spatial imagination. It examines how her poetic landscape responds to the conditions of modernity in an age of modernization, expansionism, colonialism and science. In particular, I look at how the social and cultural representations of nature and heaven are revised and appropriated in her poems to challenge the hierarchical structure of visual dominance embedded in the public discourses of her time. Although she seldom travelled, her writing oscillates between experiential empiricism, sensationalistic reportage, and ecological imagination to account for the social and geographical transition of a rapidly industrialized and commercialized society. The notion of transcendence, progress and ascension in Enlightenment and Transcendentalist writings, based upon technological advancement and geographical expansion, characterized the social and cultural imagination of her time. Alternatively, an increasingly cosmopolitan New England registers a poetic contact zones as well as a Bakhtinian carnivalesque space, in which colonial relations can be subverted, western constructions of orientalism challenged, and capitalist modernity inflected. Dickinson voiced in her poems her critical reception of such a phantasmagoric site of a modern world. I explore how her cartographic projection registers the conflicting nature of modernity, while resists the process of empowerment pursued by her contemporary writers, presenting a more dynamic poetic vision of the world. In the first chapter, I explore her use of empirical mapping as a poetic approach to challenge the Enlightenment notion of progress and modernity. I look at her poems of social transitions, especially her poems of the Bible, the train, the pastoral, and the graveyard, to show how she addresses the issue of modernization. Her visit to Mount Auburn and the rural landscape movement are explored to show her complex poetic response toward modernity. In the second chapter, I focus on her poems of emigration and exploration to see how she appropriates frontier metaphors and exploratory narratives that dominated the discourses of national and cultural projects of her time. The colonial expeditions and national expansionism of her time are examined to show her revision and deconstruction of quest narratives. In the third chapter, I examine her commercial metaphors in relation to cosmopolitanism. I discuss her metaphors of tourism to see how her poems are based upon the notion of consumption as a poetic mode that is closely related to the violence of global displacement and imperial contestation. Her tourist experiences and reading of travel writings will be examined to show her critical response towards the dominant visual representations of her time. In the last chapter, I explore her poems of visitation and reception to show her elastic spatial imagination through her notion of neighbouring and compound vision. In particular, I discuss her poetic reception and appropriation of the theories of Edward Hitchcock and Thomas De Quincey. I conclude suggesting that her spatial imagination reveals her poetic attempt to account for the conditions of modernity.
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Gimenez, Mathieu. "Joseph Delteil, le vivant à l'oeuvre." Electronic Thesis or Diss., Amiens, 2021. http://www.theses.fr/2021AMIE0102.
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Joseph Delteil, auteur phare de l'entre-deux-guerres, ayant fait ses armes chez les surréalistes notamment, sans tomber tout à fait dans l'oubli, n'a pas aujourd'hui l'attention qu'il mérite. Pour un écrivain chez qui la nature a joué un rôle essentiel, il était étonnant de voir que ce sujet n'avait jamais été traité pour lui-même. Cela était d'autant plus étonnant que Joseph Delteil est l'auteur de textes profondément écologiques tels que Jésus II ou bien encore François d'Assise, tous deux publiés après la Seconde Guerre mondiale. Outre ces textes, c'est tout un travail sur la réceptivité, sur l'état poétique et sur l'attention au vivant qui est à l'œuvre au sein du processus créateur de Joseph Delteil, et ce depuis les œuvres de jeunesse jusqu'aux œuvres de la maturité. Notre travail analyse, à partir de la formation intellectuelle de Delteil et du regard qu'il pose sur le vivant, les mouvements de sa pensée en lien avec le devenir des sociétés humaines. Pour cela, nous avons utilisé les outils de l'écopoétique, discipline encore récente et qui doit se développer dans le champ des études universitaires francophones, ce qui nous permet de mettre en lumière ce que nous avons appelé l'"écopoétique chrétienne", à savoir une sensibilité poétique et écologique partagée par un ensemble d'écrivains aux XXème et XXIème siècles se reconnaissant comme chrétiens et fortement marqués par les questions environnementales (André Dhôtel, Marie Gevers, Christian Bobin, René Guy-Cadou, Colette Nys-Mazure, Philippe Forcioli…). Cette mise en lumière nous permet de montrer toute la part prise par les écrivains chrétiens au sein de la création littéraire française moderne et contemporaineJoseph Delteil is a leading author from the interwar years, who cut his teeth with the surrealists, in particular. Although he has not fallen entirely into oblivion, he is not receiving the attention he deserves these days. Considering that he is a writer for whom nature has played an essential role, it is astonishing to observe that he never dealt with this subject himself. This was all the more astonishing that Joseph Delteil was the author of deeply ecological texts such as "Jesus II" or even "François d'Assise", both published after the Second World War. We can add "Jeanne d'Arc" or "La Deltheillerie", of course. Each of these powerfull books, in his own way, questions the the relationship to living things and the future of human societies. In addition to these texts, it is a whole work on receptivity, on the poetic state and on attention to the living that is at work within the creative process of Joseph Delteil, and this from the works of youth until to the works of maturity. This study analyses the movements of Delteil's thoughts in relation to the future of human society, based on his intellectual education and view of living things. To this end, the tools of ecrocritism and ecopoetics have been used to highlight 'Christian ecopoetics', namely a poetic and ecological sensitivity shared by a set of writers in the XX and XXI centuries, who saw themselves as Christians and strongly affected by environmental issues (André Dhôtel, Marie Gevers, Colette Nys-Mazure, Philippe Forcioli, René Guy Cadou, Frédéric Jacques Temple, Christian Bobin…). This highlighting allows us to show all the price part by Christian writers within modern and contemporary French literary creation
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Silveira, Juliana Fabrícia da. "Ecos medievalizantes na poesia de Manuel Bandeira : um exercício de aprendizagem poética /." São José do Rio Preto : [s.n.], 2009. http://hdl.handle.net/11449/94139.
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Orientador: Marcos Antonio SiscarBanca: Susanna Busato
Banca: Wilton José Marques
Resumo: Esse trabalho analisa a presença de ecos medievalizantes na poesia de Manuel Bandeira como exercício de aprendizagem poética. Para isso, selecionamos alguns poemas de Bandeira que possuem uma vinculação mais explícita com a lírica medieval, seja pela temática, seja pela forma, embora esses ecos perpassem por toda sua produção poética. A influência decisiva da poesia medieval portuguesa é apontada pelo próprio poeta em suas cartas, crônicas e na autobiografia intelectual Itinerário de Pasárgada e se manifestam de modo exemplar nos poemas analisados neste trabalho ("Cantiga de amor", de Mafuá do Malungo; "Canção das muitas Marias", de Opus 10; "Cantar de amor" e "Cossante", de Lira dos Cinquent'anos; "Solau do desamado", de Cinza das horas; e "Rimancete" e "Baladilha arcaica", de Carnaval). Cada um deles empreende uma relação diferente com o medieval, ora pela negação dos arquétipos da poesia antiga, ora pelo tom de homenagem. Enfatizando o modo como se realiza essa recuperação da poesia medieval, o trabalho dá destaque ao fato de que a poesia de Bandeira modula e problematiza os pressupostos de liberação do passado e do lusitanismo característicos do Modernismo de 1922. Esse gesto não se baseia em um espírito de continuidade, mas funciona como experimentação que permite a Bandeira se especializar e se singularizar dentro de um campo que destaca o caráter rítmico e profano da poesia.
Abstract: The aim of this work is to analyze the presence of medieval echoes in Manuel Bandeira‟s poetry as an exercise of poetic learning. To this end, some of Bandeira‟s poems which a more explicit connection with medieval lyrics either thematic or formal were selected, although these echoes can be identified throughout his poetic works. The crucial influence of Portuguese medieval poetry is pointed out by the poet himself in his personal letters, chronicles and intellectual autobiography named Itinerário de Pasárgada, and in an exemplary way in "Cantiga de amor"(Mafuá do Malungo); "Canção das muitas Marias" (Opus 10); "Cantar de amor" and "Cossante" (Lira dos Cinquent'anos); "Solau do desamado" (Cinza das horas); "Rimancete" and "Baladilha arcaica" (Carnaval), poems analyzed in this work. Each poem undertakes a different relationship with the medieval element, either by the denial of traditional poetry archetypes or by showing signs of respect. When emphasizing how this return of medieval poetry is realized, this work highlights the fact that Bandeira‟s poetry modulates and problematizes the presuppositions of rupture from (Luso-medieval) tradition, characteristics of Brazilian Modernism in 1922. The poet‟s attitude is not based on a spirit of continuity. It works as an experiment that allows Bandeira to have a specific and singular style within a field which emphasizes the rhythm and profanity of poetry.
Mestre
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Silveira, Juliana Fabrícia da [UNESP]. "Ecos medievalizantes na poesia de Manuel Bandeira: um exercício de aprendizagem poética." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/94139.
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silveira_jf_me_sjrp.pdf: 372236 bytes, checksum: 5d3c02c0720146a6f7cf7a9c1423d1b2 (MD5)Esse trabalho analisa a presença de ecos medievalizantes na poesia de Manuel Bandeira como exercício de aprendizagem poética. Para isso, selecionamos alguns poemas de Bandeira que possuem uma vinculação mais explícita com a lírica medieval, seja pela temática, seja pela forma, embora esses ecos perpassem por toda sua produção poética. A influência decisiva da poesia medieval portuguesa é apontada pelo próprio poeta em suas cartas, crônicas e na autobiografia intelectual Itinerário de Pasárgada e se manifestam de modo exemplar nos poemas analisados neste trabalho (“Cantiga de amor”, de Mafuá do Malungo; “Canção das muitas Marias”, de Opus 10; “Cantar de amor” e “Cossante”, de Lira dos Cinquent’anos; “Solau do desamado”, de Cinza das horas; e “Rimancete” e “Baladilha arcaica”, de Carnaval). Cada um deles empreende uma relação diferente com o medieval, ora pela negação dos arquétipos da poesia antiga, ora pelo tom de homenagem. Enfatizando o modo como se realiza essa recuperação da poesia medieval, o trabalho dá destaque ao fato de que a poesia de Bandeira modula e problematiza os pressupostos de liberação do passado e do lusitanismo característicos do Modernismo de 1922. Esse gesto não se baseia em um espírito de continuidade, mas funciona como experimentação que permite a Bandeira se especializar e se singularizar dentro de um campo que destaca o caráter rítmico e profano da poesia.
The aim of this work is to analyze the presence of medieval echoes in Manuel Bandeira‟s poetry as an exercise of poetic learning. To this end, some of Bandeira‟s poems which a more explicit connection with medieval lyrics either thematic or formal were selected, although these echoes can be identified throughout his poetic works. The crucial influence of Portuguese medieval poetry is pointed out by the poet himself in his personal letters, chronicles and intellectual autobiography named Itinerário de Pasárgada, and in an exemplary way in “Cantiga de amor”(Mafuá do Malungo); “Canção das muitas Marias” (Opus 10); “Cantar de amor” and “Cossante” (Lira dos Cinquent’anos); “Solau do desamado” (Cinza das horas); “Rimancete” and “Baladilha arcaica” (Carnaval), poems analyzed in this work. Each poem undertakes a different relationship with the medieval element, either by the denial of traditional poetry archetypes or by showing signs of respect. When emphasizing how this return of medieval poetry is realized, this work highlights the fact that Bandeira‟s poetry modulates and problematizes the presuppositions of rupture from (Luso-medieval) tradition, characteristics of Brazilian Modernism in 1922. The poet‟s attitude is not based on a spirit of continuity. It works as an experiment that allows Bandeira to have a specific and singular style within a field which emphasizes the rhythm and profanity of poetry.
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Kývalová, Eva. "Benjamin Britten - The Poet's Echo." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-391665.
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In this thesis I focused on song cycle written by english composer Benjamin Britten The Poet’s Echo, which is based on poems by russian writter Aleksander Sergeyevich Pushkin. Benjamin Britten dedicate his song cycle to his close friends Galina Vishnevskaya and Mstislav Rostropovich, who performed this piece on premiere performance in Moscow. The purpose of my contribution was to outline the background of the admirable work, introduce all key persons interested in the piece and mapping of lyrics and music view in general in this cycle.
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Freitas, Anelise de. "A defesa do ECO." Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/5657.
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A tese concentra sua atenção no panorama da cena contemporânea de poesia em Juiz de Fora, utilizando o início do sarau ECO – Performances Poéticas como estopim para o pensamento dessa formação de um cenário, que compreende o início do século XXI até a atualidade. A metodologia que se objetivou utilizar foi a da autoetnografia, isto é, a partir da prática de autoreflexão da pesquisadora como uma observadora não-indeferente, perspectiva essa apontada por Daniela Versiani. O aporte teórico se dá, principalmente pelo desenvolvimento de alguns termos críticos praticados por pensadores como Hans Ulrich Gumbrecht, Luciana di Leone, Paul Zumthur e Pierre Bourdieu, que discutem, respectivamente, a produção de presença, o afeto, a performance e a criação simbólica do campo, discussões importantes para o desenvolvimento dessa pesquisa. Para efeitos de economia do texto o capítulo teórico é deslocado em formas de notas para o final da investigação, recebendo o nome de EFEMÉRIDES & CARTOGRAFIA: NOTAS INDEFESAS.
La tesis pone su atención en el panorama de la escena de la poesía contemporánea de Juiz de Fora, utilizando el nacimiento de la tertulia Eco – Performances Poéticas como un inicio para el pensamiento de la formación del escenario que comprende el inicio del siglo XXI hasta hoy día. La metodología utilizada fue de la autoetnografía, o sea, a partir de la práctica autoreflexiva de la encuestadora como una observadora no-indiferente, perspectiva apuntada por Daniela Versiani. El marco teórico es, principalmente, compuesto por el desarrollo de algunos puntos críticos ensayados por pensadores como Hans Ulrich Gumbrecht, Luciana di Leone, Paul Zumthur y Pierre Bourdieu, que analizan, espectivamente, la producción de presencia, el afecto, la performance y la creación simbólica de los campos, discusiones importantes para el desarrollo de la encuesta. Para efectos económicos del texto el capítulo teórico está desplazado como notas al final de la investigación, nombrado como EFEMÉRIDES & CARTOGRAFIA: NOTAS INDEFESAS.
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BITTENCOURT, Frederico Luis Domingues. "Ecos de Narciso [manuscrito]: leitura do livro Ecos." Universidade Federal de Goiás, 2009. http://repositorio.bc.ufg.br/tede/handle/tde/2432.
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Previous issue date: 2009-03-27This study proposes to examine the book Echoes: the jewel of Pandora, of the goiana poet Yêda Schmaltz. To do so, she takes as its leitmotif the update, processed in the book, the myths of Echo and Narcissus. The reinvention of classical myths noticed in Echoes is exemplary of an applicant in the work of the author, which is, in the narratives of antiquity, one of the main centers of creation of her literature. In this case, the archetypal mythological women are treated in different and successive books in order to reveal the various stages of psychological growth of women. In Echoes, the character of the same name, unlike the original narrative, overcomes the rejection and beats the challenges of loving relationship. This overcoming causes in the I lyric the reach of the true love, which necessarily involves the development of self, the self-love, only to then distribute it to the others. Considering the development of this study, first of all, there will be a presentation of the author and her literature. Then, as this study includes the upgrade of classical myths in a modern poet, it will present some considerations on myth and on the relationship myth and poetry, seeking, as possible, establish a dialogue between these considerations and poems of the book covered. Finally, the procedure will be to rescue the narrative of Echo and Narcissus, as it appears in Ovid, the recovery of interpretations and theories about the narrative and also to examine, through the comment of paradigmatic poems, recovering the difference that Yêda Schmaltz stablishes about the myths of Echo and Narcissus
Este estudo propõe examinar o livro Ecos: a jóia de Pandora, da poeta goiana Yêda Schmaltz. Para tal, toma como fio condutor a atualização, processada no livro, dos mitos de Eco e Narciso. A reinvenção de mitos clássicos notada em Ecos é exemplar de um processo recorrente na obra da autora, a qual encontra, nas narrativas da Antiguidade, um dos principais núcleos de criação de sua obra. Nesse processo, os arquétipos mitológicos femininos são tratados em diferentes e sucessivos livros, de modo a revelar as diversas etapas do crescimento psicológico da mulher. Em Ecos, a personagem de mesmo nome, diferentemente da narrativa original, supera a rejeição e vence os desafios da relação amorosa. Essa superação faz com que o eu lírico alcance o amor autêntico, que perpassa obrigatoriamente pela valorização de si mesmo, pelo auto-amor, para só em seguida distribuílo aos outros. No desenvolvimento deste estudo, primeiramente, far-se-á uma apresentação da autora e da sua obra. Em seguida, como o trabalho contempla a atualização de mitos clássicos em uma poeta moderna, serão apresentadas algumas considerações sobre mito e sobre a relação mito e poesia, procurando, sempre que possível, estabelecer um diálogo entre essas considerações e poemas do livro contemplado. Por fim, proceder-se-á ao resgate da narrativa de Eco e Narciso, conforme aparece em Ovídio, à recuperação de interpretações e teorias sobre essa narrativa e também ao exame, por meio de comentário de poemas paradigmáticos, da recuperação com diferença que Yêda Schmaltz realiza dos mitos de Eco e Narciso
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Uhly, Steven. "Multipersonalität als Poetik : Umberto Eco, Il nome della rosa : João Ubaldo Ribeiro, Viva o povo brasileiro : José Saramago, O evangelho segundo Jesus Cristo /." Frankfurt am Main : P. Lang, 2000. http://catalogue.bnf.fr/ark:/12148/cb39921787n.
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Siegel, 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.
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In the lead up to the 2011 official U.S. State Department decision on the proposed Keystone XL pipeline--running from the Alberta, Canada Tar Sands to the Gulf of Mexico--the Department held nine public meetings in Fall 2011 in the six U.S. states through which the proposed Keystone XL pipeline project would pass (the Department rejected the proposal; however, a new proposal is under consideration as of this writing). The transcripts of these public meetings are publicly accessible.
Understanding the pipeline as a project of trans-national trade and the global circulation of petrochemicals--including global emissions of carbon dioxide--this paper hones in on one region within one U.S. state: the Nebraskan Sandhills, a cattle ranching region of grass-stabilized sand dunes and inter-dunal valleys stretching 20,000-square miles across the north-central part of the state, under which rests a vast hydrological network, including the largest freshwater aquifer in the world - the Ogallala Aquifer.
This essay argues that we can read the Public Comments as a form of poetic expression, paying attention to the ways the State Department transcription process formatted the oral testimonies into an "official" and sanctioned public document -- instituting line-breaks and other syntactical procedures. Using the tools of literary-critical analysis, this paper makes a case that we can read the Comments as a form of documentary poetry - in the tradition of such American modernist poets as Charles Reznikoff, Muriel Rukeyser, and George Oppen - that explore ecological questions while experimenting with lyric structures. The Comments reveal competing environmental stakeholders' stances - on such topics as Prairie systems ecology and the neoliberal economics of private-public capital markets. In doing so, they subsequently express citizens' various understandings of themselves in relation to landscape, ecology, technology, and geo-politics.
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Christensen, Niels H. "The Slow Violence of Eco-Apocalypse in the Poetry of José Emilio Pacheco." BYU ScholarsArchive, 2021. https://scholarsarchive.byu.edu/etd/8961.
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Over the course of his fifty-year career, Mexican writer José Emilio Pacheco has almost habitually written poetry about environmental themes especially those related to pollution, extraction, deforestation, and other related themes of destruction. Simultaneously, his work has engaged with questions of temporality, namely the passing of time and the inherent violence of such questions. In this essay, I examine a selection of Pacheco's poetry from the 1970s to the early 2000s, demonstrating Pacheco's marrying of the two concepts: environmental degradation and time. This marriage results in a provocative synthesis of eco-apocalypse, a phenomenon that details a paradoxical end that never actually arrives, but only consistently worsens. I illuminate Pacheco's work by incorporating Rob Nixon's concept of "slow violenceâ€, which informs my reading of the poetry by calling to its imaginative power. This power allows it to depict that which is imperceptible, either because it moves too slowly or too broadly to be witnessed by the human observant. In short, Pacheco's poetry addresses human-perceived time and natural or deep time in light of the ongoing apocalypse, which, despite the morose tone of the poetry, obliquely urges the reader towards an awareness of eco-apocalypse.
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Savio, Lígia. "Metaformose: ecos e reflexos /." Florianópolis, SC, 2000. http://repositorio.ufsc.br/xmlui/handle/123456789/78953.
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BATISTA, Mariana Barbosa. "Acordes de um para?so: mem?ria e imagens ecol?gicas na poesia de Sos?genes Costa." UNIVERSIDADE ESTADUAL DE FEIRA DE SANTANA, 2014. http://localhost:8080/tede/handle/tede/68.
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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES
This work is a study of the representation of memory and perceptions of ecological images (landscape, culture, experiences, the human element) in the work of Sos?genes Costa. The analysis shows that the poet of Belmonte with his lyrical promotes a close relationship between the imaging of the local landscape, represented initially by static pictures, but transfigured beyond them, from the approach by the look, reflecting a poetic revealed by an inherently visual appeal. This assessment allows the reader a better understanding of the environment and nature that surrounds him, making him reflect on an aesthetic perspective, environmental and cultural. In this study we focus on the representations of environmental issues in his works, highlighting the ecological elements, the thematization of landscapes, natural resources, as well as the senses of criticism and emotional thematization of the oikos. Therefore we analyze poems with twilight, solar and landscaped grounds aligned with the ecological aspects of the town of Belmonte and Ilheus, making a path for the formation of the concept of landscape, his views and links with literature and the conceptions of sosigeniano lyricism. Finally, from a critical reading of reminiscences collected in the peculiar universe of the author, approached the applicants mythological issues in his poetic, environmental elements, the perception of influence and intertextuality, through the "palimpsests sosigenianos".
Este trabalho consiste em um estudo da representa??o de percep??es da mem?ria e de imagens ecol?gicas (a paisagem, a cultura, as viv?ncias, o elemento humano) na obra de Sos?genes Costa. A an?lise demonstra que o poeta de Belmonte promove com sua l?rica uma rela??o intensa entre a cria??o de imagens da paisagem local, representadas inicialmente por figuras est?ticas, mas que transfiguram al?m das mesmas, a partir da aproxima??o pelo olhar, reflexo de uma po?tica revelada por um apelo intrinsecamente visual. Essa aprecia??o permite ao leitor uma melhor compreens?o do ambiente e da natureza que o cerca, fazendo-o refletir sobre uma perspectiva est?tica, ambiental e cultural. Neste estudo focalizamos as representa??es das quest?es ambientais na obra do autor, destacando os elementos ecol?gicos, a tematiza??o de paisagens, recursos naturais, bem como os sentidos da tematiza??o cr?tica e afetiva do oikos. Para tanto analisamos poemas com motivos crepusculares, solares e paisag?sticos alinhados com os aspectos ecol?gicos da cidade de Belmonte e de Ilh?us, fazendo um trajeto pela forma??o do conceito de paisagem, suas concep??es e articula??es com a literatura e as concep??es acerca do lirismo sosigeniano. Finalmente, a partir de uma leitura cr?tica das reminisc?ncias colhidas no universo peculiar do autor, abordamos as quest?es mitol?gicas recorrentes em sua po?tica, os elementos ambientais, a percep??o das influ?ncias e as intertextualidades, por meio dos ?palimpsestos sosigenianos?.
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Rosa, Paulo Fernando Zaganin [UNESP]. "De leite, névoas e chamas: a poética da memória em Umberto Eco e Chico Buarque de Holanda." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/132165.
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000851809.pdf: 987852 bytes, checksum: d65f2784bd84f274efed2fb8ab4e471e (MD5)Il presente lavoro propone una discussione sulla narrativa memorialista attraverso lo studio di due opere letterarie, una brasiliana e l'altra italiana. Da un lato, si è analizzato il quinto romanzo del semiologo e scrittore italiano Umberto Eco, La misteriosa fiamma della regina Loana (2005), una edizione piena di illustrazioni che fanno riferimento agli anni di 1930 e 1940, presentando un panorama dell'Italia in quel periodo. Il protagonista, un bibliofilo, chiamato Giambattista Bodoni, perde la memoria personale, ma mantiene intatta quella libresca. Nel tentativo di recuperarla, passa a discutere il rapporto tra memoria individuale e memoria collettiva, soprattuto nell'ambito dei segni, in modo a espandere la discussione relativa a teme semiotiche. D'altra parte, abbiamo studiato il quarto libro del cantante, compositore e scrittore brasiliano Chico Buarque de Holanda, Leite derramado (2009), un'opera nostalgica che indaga anche i rapporti tra i due tipi di memoria. Il suo protagonista è Eulálio Montenegro D'Assumpção, un centenario carioca di famiglia aristocratica decadente che, in ospedale, sul suo letto di morte, ricorda eventi della sua vita personale, dietro i quali si disegna anche la storia del Brasile. Partendo del principio che i due romanzi, nel corso della loro narrazioni, dimostrano la capacità della memoria per registrare la propria storia e per la costituzione delle identità individuale e nazionale, cerchiamo di discutere, per mezzo di studi sulla memoria eseguiti da Santo Agostino (2004), Henri Bergson (1990), Maurice Halbwachs (2006), Paul Ricoeur (2007), Jacques Le Goff (2003), tra altri, le forme utilizzate da Umberto Eco e da Chico Buarque per il registro memorialistico, cercando di identificare e analizzare la loro rappresentazione nelle due opere attraverso i suoi simboli, per dimostrare che raccontando la storia, entrambe fanno un omaggio alla propria lette
O presente trabalho propõe uma discussão sobre a narrativa memorialista por meio do estudo de duas obras literárias, uma brasileira e a outra italiana. De um lado, analisamos o quinto romance do semiólogo e escritor italiano Umberto Eco, A misteriosa chama da rainha Loana (2005), uma edição repleta de ilustrações que remetem aos anos de 1930 e 1940, apresentando um panorama da Itália naquele período. O protagonista, um bibliófilo, chamado Giambattista Bodoni, perde a memória pessoal, mas mantém intacta aquela livresca. Ao tentar recuperá-la, passa a discutir as relações entre memória individual e memória coletiva, sobretudo no âmbito dos signos, abrindo a discussão a temas inerentes à semiótica. De outro lado, estudamos o quarto livro do cantor, compositor e escritor brasileiro Chico Buarque de Holanda, Leite derramado (2009), uma obra nostálgica que também investiga as relações entre os dois tipos de memória. Seu protagonista é Eulálio Montenegro D'Assumpção, um centenário carioca de família aristocrática decadente que, no hospital, em seu leito de morte, relembra fatos de sua vida pessoal, por trás dos quais se desenha também a história do Brasil. Partindo do princípio de que os dois romances, no decorrer de suas narrativas, demonstram a capacidade da memória para registrar a própria história e para a constituição das identidades individual e nacional, procuramos discutir, a partir de estudos sobre a memória realizados por Santo Agostinho (2004), Henri Bergson (1990), Maurice Halbwachs (2006), Paul Ricoeur (2007), Jacques Le Goff (2003), entre outros, as formas utilizadas por Umberto Eco e por Chico Buarque para o registro memorialístico, procurando identificar e analisar sua representação nas duas obras através de seus símbolos, a fim de demonstrar que, ao recontar a história, ambas fazem uma homenagem à própria literatura
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Avila, Mara Regina Avila de. "Pela poesia de Ana Paula Tavares: vozes e ecos de Angola em África." reponame:Repositório Institucional da FURG, 2010. http://repositorio.furg.br/handle/1/4883.
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Esta dissertação de mestrado, intitulada “Pela poesia de Ana Paula Tavares: vozes e ecos de Angola em África”, focaliza na literatura angolana pósindependência a poesia de Paula Tavares, voz inovadora da geração 80 que traz estampada em sua poética o passado (da tradição), buscando reescrever uma nova história, ou melhor, uma anti-história de enfoque pós-colonial opositiva às estruturas imaginárias imperialistas (e/ ou colonialistas), inscritas em um novo presente histórico (da modernidade). A memória (coletiva), então, insere-se convocando os sujeitos da diferença cultural a inscrever e (re) inscrever suas próprias histórias. O trabalho objetiva apreender, analisar e compreender de que forma o processo identitário cultural interage com a criação poética da escritora no contexto cultural contemporâneo. Com este propósito, será examinado um conjunto de poemas retirados de Ritos de passagem (1985), O lago da lua (1999) e Ex-votos (2003). Essa leitura, acerca da poética tavarense, está embasada em categorias analíticas, articuladas entre si e vinculadas além da perspectiva do gênero, em torno da sua relação com a antropologia, sociologia, a história e a literatura.
Esta disertación de maestría, denominada “Pela poesía de Ana Paula Tavares: vozes e ecos de Angola em África”, centra en la literatura angolana pos independencia, la poesía de Paula Tavares, voz innovadora de la generación 80 que retrata en su poética el pasado (de la tradición), buscando reescribir una nueva historia, es decir, una anti historia de enfoque poscolonial opuesta a las estructuras imaginarias imperialistas (y/o colonialistas), inscriptas en un nuevo presente histórico (de la modernidad). La memoria (colectiva), entonces, se inserta convocando a los sujetos de la diferencia cultural a inscribir y reinscribir sus propias historias. El trabajo tiene como objetivo aprehender, analizar y comprender de qué manera el proceso identitario cultural interactúa con la creación poética de la escritora en el contexto cultural contemporáneo. Con este propósito, se examinará un conjunto de poemas extraídos de Ritos de passagem (1985), O lago da lua (1999) e Ex – votos (2003). Esa lectura, sobre de la poética tavarense, se basa en categorías analíticas, articuladas entre sí y vinculadas más allá de la perspectiva del género, en torno a su relación con la antropología, la sociología, la historia y la literatura.
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Geurts, James, and james@jamesgeurts com. "BLUE-PRINT: Human/Hydrokinetic Drawing Projects." RMIT University. Art, 2010. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20100326.114926.
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Blue-Print: Human/Hydrokinetic Drawing Projects, is based on an expanded field of drawing practice, centering on a series of spatial and time-based projects at various bodies of water around the world. Blue-Print drawing projects set out to describe a language that articulates a human/hydrokinetic relationship. This expanded drawing practice emerges through diverse forms of installation, video, land-art, kinetic sculpture, light works, sensor-drawing, photography, living-monochromes, sound, durational events and research. This expanded drawing practice is based on an inquiry into the relationships between land/place and thought/movement. It addresses the processes through which landscape, and its forms, are internalised in conceptual space, and the ways in which conceptual frameworks are projected outwards onto the landscape. The work is informed by, and contributes to, the paradigms of eco-poetics and psychogeography. Both of these paradigms engage with the relationships between the physical world and the human experience of space and time. Combining the two through my practice creates a view of the environment and the human as two interdependent circulatory systems. Bodies of water/weather cycles/conceptual systems/the human as a water-body, these are subjects in my work as much as the sense of circulation comes through methodologically and aesthetically in the actual making and form of my expanded drawings. This approach to art practice uses process in a particular way, that is as a primary means of making an artwork, although it could be said that such an approach is also an anti-method in as much as the 'method' is variable - it is continually invented given the situation/circumstances. What is consistent is a dynamic of proliferation; the work spreads out in different directions and in unpredictable ways. Here process is not for 'outcome' but is the work itself. My overall practice has taken drawing as the base from which to work. My works are combinational and connective. They are based on a type of research that is deliberate, intense and composite, and which activates the spaces of transformation that exist in the movement between landscape and thought, the circulation between environment and human. This investigation uses human engagement with moving bodies of water to generate drawings in a variety of ways, according to the specifics of each hydrokinetic system. This interest in human/hydrokinetic relationships stems from my experiences as a surfer and surfing is one of the means with which I create drawing works within this investigation. I am interested in the unique and dynamic complexity of hydrokinetics in each of the chosen locations and how this complexity of movement influences the drawing/ recording process. I am interested in generating real-time drawing works from the particular intersection of: place; time; human/hydrokinetic activity; ecological forces at work and the specific ways in which these variables all affect the resultant form of abstraction. Further to this I am interested in exploring the capacity of abstraction to access, and refer to, psychological space more readily than naturalistic renderings of the landscape.
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Graça, Isabel Alexandra Vilares Costa. "Roma na poesia de Marcial: imagens e ecos de um espaço físico e social." Doctoral thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/6219.
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Doutoramento em Literatura latinaA presente tese assenta na forma como Roma, considerada nas suas dimensões física e social, se encontra representada na poesia de Marcial. Estruturalmente, o trabalho encontra-se dividido em três partes: I. Marcial: a vida e a obra; II. Enquadramento Urbano: Roma, espaço físico; III. Enquadramento Urbano: Roma, espaço social. Após um momento introdutório, inicia-se a primeira parte do trabalho, centrada em aspectos de cariz biobibliográfico considerados relevantes para a compreensão da obra do epigramatista. A segunda parte da tese é consagrada à análise da representatividade dos diferentes espaços físicos de Roma, na sua poesia. Na terceira parte, a forma como os diferentes tipos sociais, agentes e profissionais se encontram retratados foi o principal alvo de investigação. Deste modo, pretendeu-se contribuir para uma visão de conjunto de uma realidade que, até ao momento, contou sobretudo com estudos parcelares.
This thesis is based on the analysis of the way Rome, in its physical and social dimensions, is represented in Martial poetry. Structurally, the paper is divided in three sections: I. Martial: life and work; II.Urban placement: Rome, physical space; III. Urban placement: Rome, social place. Following an introductory moment, the first part of the work is initiated, focused in aspects of a bibliographical basis considered relevant for the understanding of the epigrammatist’s work. The second part of the thesis is consecrated to the analysis of the representativeness of the different physical spaces of Rome, in its poetry. On the third part, the way different social groups, agents and professionals are portrayed was the first target of the investigation. So, it is intended to contribute to a general vision over a reality that counted, mostly and up until now, on parcellary studies.
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BERCACO, E. B. "Exus, Cus e Ecos: a poética erótico-sagrada de Waldo Motta." Universidade Federal do Espírito Santo, 2008. http://repositorio.ufes.br/handle/10/3201.
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Previous issue date: 2008-09-26Estudo da obra poética de Waldo Motta, mormente Bundo e outros poemas, a partir da perspectiva do conceito de erótico cunhado em Platão (Um Banquete), Georges Bataille (O Erotismo), Octavio Paz (A dupla chama: amor e erotismo), e à luz da concepção de sagrado cunhada por Mircea Eliade e Bataille. A partir de tais referências, investigam-se diálogos polifônicos (Bakhtin) que possibilitem a constatação de uma poética que se inscreve como mimese de mundos desautorizados numa literatura tida como ocidental. Busca-se perceber os efeitos de uma poesia que reitera certas relações analógicas de uma tradição literária, mas que lança mão da ironia (Octavio Paz) como recurso anticanônico, num antijogo que reflete e que contesta expectativas de uma poesia erótica convencional. Por fim, analisa-se a relação entre tais formas literárias do erótico e o contexto teológico/filosófico que as envolve. PALAVRAS-CHAVE: poesia; erotismo; sagrado; literatura.
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Fachinello, Sandra Albuquerque Reis. "Ecos digitais: propostas poéticas." Universidade do Estado de Santa Catarina, 2007. http://tede.udesc.br/handle/handle/734.
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Previous issue date: 2007-11-01Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The art produced with digital mean, known as digital art, involves complex questions related to the specificity of the digital media which question the ways of production, exhibition, distribution, aesthetic appreciation, authorship, that encloses the quarrels of copyright, industrial patent, free and commercial software. This study also tackles a variety of issues concerning digital production, from the poetical possibilities explored, to the quarrel of problems such as domain and access of digital language. The present research investigates artistic proposals that use digital environment, the relation between the poetical richness and the technological and technical knowledge, which depends on the access to digital means. Reflecting on the story of artists who explore the digital media, as well as texts of theoreticians and art critics, the adopted methodology was the bibliographical research and interviews with the artists: members of the SCIArts group, Tania Fraga and Malu Fragoso. The criteria for the selection of these artists was based as their contribution to the field of Brazilian digital art through exhibitions an participation in events which discuss art and technology. The study examines the poetical process of the digital production present in artworks, such, interactive installations and artistic proposals of the digital medias, as the Poetical Atrator , Gravity Fluxions: pulsations and the Tracajá Project . Were clearly articulated in speeches of the interviewed artists and in the importance of the quarrel on the technique and technology and about questions of the access and domain implied at the digital art research. The artists alert for the necessity of support to the creation of groups to research free software, for development of appropriate means of evaluations in brief that are not specific for research in digital ways, to the increase of public funding that would finance equipment and programs of high cost, and discussion on the property right of these equipment and programs. They also point out the precariousness of the critical and the exhibition spaces without the necessary structure to slow this kind of artworks in Brazil. The research Digital Echoes - poetical proposals considers that the poetical proposals in digital ways - low or high tech - creates a space of fertile artistic and critical exploration
A arte produzida com meios digitais, nomeada de arte digital, envolve questões complexas suscitadas pela especificidade dos meios digitais que questionam os modos de produção, de exibição, de distribuição, de apreciação estética, de autoria, que abrange as discussões do direito autoral, patente industrial, software proprietário e livre. Enfim, são questões que vão desde as possibilidades poéticas exploradas até o domínio e acesso da linguagem digital. A presente pesquisa busca perceber nas propostas artísticas que se utilizam do digital, a relação entre a riqueza poética e o conhecimento técnico e tecnológico, o qual depende do acesso aos meios digitais. Refletindo sobre o relato de artistas que exploram os suportes digitais, assim como de textos de teóricos e críticos de arte, a metodologia adotada foi a pesquisa bibliográfica com entrevistas semi-estruturadas e presenciais com os artistas do SCIArts, Tania Fraga e Malu Fragoso. A escolha destes artistas deu-se pelo caráter de serem artistas brasileiros pesquisadores em meios digitais, com exposições e participações em eventos atuais que discutem arte e tecnologia. O estudo aponta o processo poético dos meios digitais presente nas instalações interativas e propostas artísticas das mídias digitais como o Atrator Poético, Gravity Fluxions: pulsations e o Projeto Tracajá, que ficou mais esclarecido nas falas dos artistas entrevistados e na pertinência da discussão sobre a técnica e tecnologia e sobre questões de acesso e domínio implicadas nas pesquisas em arte digital. Os artistas alertam para a necessidade do incentivo à criação de grupos de pesquisa, que investiguem software livres, para a adequação das avaliações nos editais que não são específicos para pesquisas em meios digitais, para o aumento de editais de fomento que consigam financiar equipamentos e programas de custo mais elevado, e para a discussão sobre o direito de propriedade desses equipamentos e programas, além de salientarem a precariedade da crítica e dos espaços de exposição sem a estrutura necessária. A pesquisa Ecos digitais - propostas poéticas considera que as propostas poéticas em meios digitais sejam low ou hight tech criam um espaço de exploração fértil
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Marimón, Garrell Anna. "La voz a mí debida: ecos de Juan Ramón Jiménez en la poesía de Pedro Salinas." Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/666918.
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Esta tesis doctoral propone una lectura intertextual de la obra poética de dos autores claves en la historia de la poesía española del siglo XX: Juan Ramón Jiménez y Pedro Salinas. El interés primordial de nuestra investigación es el de evidenciar la relación dialéctica que los versos salinianos entablan con los de su maestro.
Mucho se ha escrito sobre la obra de Juan Ramón; sobre su papel decisivo en el proceso de modernización de la literatura española y su genialidad a la hora de componer una Obra Total, una Obra en mayúsculas capaz de inmortalizarle como el principal poeta del siglo XX español.
También se ha escrito mucho sobre la compleja personalidad del poeta, sobre sus profundas crisis existenciales y su marcada tendencia a la depresión. Aristóteles sostenía que: «No hay genio sin un gramo de locura», y es que es precisamente este gramo de locura lo que permite al genio forjar una visión de la vida que va más allá de todo límite establecido, es decir, de lo aceptado comúnmente como normal.
En el caso de Juan Ramón, este gramo de locura se ha acentuado hasta la saciedad. Se ha labrado de él una imagen de poeta ególatra, caprichoso y maniático que, injustamente, ha eclipsado otra faceta de su personalidad igualmente importante y, desde luego, menos conocida: su generosidad, su voluntad pedagógica y su ánimo entusiasta respecto a los más jóvenes. Paradójicamente, el poeta más incomprendido de la historia de la poesía española fue también quien mejor supo comprender a sus coetáneos.
En el presente trabajo, nos proponemos ahondar en esta segunda faceta del poeta, es decir, en su condición de Maestro de poetas. Concretamente, nos centraremos en la influencia que su poesía tuvo sobre los versos del que fuera uno de sus principales discípulos: Pedro Salinas.
Durante los años veinte, Juan Ramón prestó una especial atención a la juventud literaria española y dedicó muchos esfuerzos a la labor de dar a conocer los versos de Salinas, Lorca, Guillén, Bergamín y Alberti, entre otros. Admiraba, sobre todo, sencillez y espontaneidad con la que escribían estos poetas. Sus
versos emanaban libertad y naturalidad, una naturalidad de la que la poesía española adolecía. Juan Ramón supo ver en ellos la oportunidad del renacer de la vida cultural hispana y, por su parte, los poetas admiraban a Juan Ramón y lo consideraban como el atlante de la poesía española.
Unidos inicialmente en amistad, Juan Ramón Jiménez y Pedro Salinas se unen también en la defensa de un ideal de poesía depurada en la que lo intelectual se fusiona con lo espiritual en un perfecto binomio: la razón con el sentimiento, la fábula con el signo, la seguridad con el azar, etc. De este modo, por medio de sus versos, Juan Ramón Jiménez y Pedro Salinas tratan de entablar un diálogo entre los eternos opuestos del ser: la vida y la muerte, el sueño y la vigilia, el cuerpo y el espíritu. El instrumento elegido para ello es la palabra poética, una palabra capaz no sólo de nombrar lo real, sino de crear conciencia e infundir a la existencia un significado profundo. Así pues, si bien las afinidades temáticas y estilísticas son múltiples, el principal punto de unión entre ambas obras viene dado por el afán de avanzar hacia una poesía intimista que posibilite el conocimiento de esa realidad esencial que subyace tras cada apariencia.
Nos proponemos analizar el grado de influencia que Juan Ramón tuvo sobre los versos de Salinas. Para ello, llevaremos a cabo un amplio análisis temático de los versos de ambos autores a fin de trazar puentes entre ambos universos poéticos.This doctoral thesis gives an intertextual reading of the poetic work of two key writers of the 20th century Spanish poetry: Juan Ramón Jiménez & Pedro Salinas. Highlighting the dialects’ relations between Salinas poetry and ones of his mentor is the essential target of our study. Much has been written on Juan Ramón poetry; about his key role in the modernization of the Spanish literature, his genius when it comes to compose a total poetic work which immortalizes him as the main poet of the 20th Spanish century. Much has been written on the complex personality of the poet too, about his deep existential crisis and his marked tendency to depression. Aristotle asserted that: «There is no great genius without some touch of madness», and that is precisely this touch of madness that allows genius to build an outlook on life that goes beyond any established limit. In Juan Ramón case, this touch of madness increased up to satiety. They created an image of an egocentric and maniac poet that, unjustly, obscured the other side of his personality, as important and unfortunately less well-know than the first one: his generosity, his educational will and his enthusiastic soul concerning young people. Paradoxically, the most misunderstood poet of the Spanish poetry’s history was also who better understood his contemporaries. In this present work, we aim to dig deeper into this last side of the poet, in other words, in his status of “teacher of poets”. We will especially focus on the influence that his poetry had on the verses of one of his main disciples: Pedro Salinas. Starting intially as friends, Juan Ramón Jiménez and Pedro Salinas will also join in the defense of a poetry where intellectual merge with espiritual, resulting in a perfect duality. By this way, through his verses, Juan Ramón Jiménez and Pedro Salinas try to establish a dialogue among eternal opposites of being: life and death, dream and wakefulness, body and soul. Word of poetry was the preferred tool as it is capable not only to name what is real, but also to create awareness and instil existence with a deep meaning. We intend to analyze influence’s grade that Juan Ramón had on Salinas poetry. For that purpose, we will carry out a wide thematic analysis of the verses of both writers in order to create links between both poetic universes.
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Ross, Stephen Joseph. "An invisible terrain : John Ashbery and nature." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:d539f24b-cd2a-4af4-9080-2fce48319e77.
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This thesis reads John Ashbery as a major poetic thinker about nature whose work convenes a multitude of nature writing traditions, from classical pastoral to the 21st-century eco-sublime. Challenging a critical consensus that would cast Ashbery as either a belated romantic in search of lost nature or an arch-postmodernist who dissolves "nature" into text, this study reveals his deep historical awareness of the transmission and collision of literary ecologies. The poet who emerges delights in putting different poetic natures into contact with each other—and in humorously making nature unnatural. Surveying Ashbery’s long historical moment, the thesis uses four terms of critique—transparency, vagrancy, flow, and badness—to map his "invisible terrain." Chapter one historicizes Ashbery’s turn to a poetics of contradictory "transparencies" during his sojourns in France from 1956-1965 and his concurrent dream of writing poems that would be like "natural landscapes" in a world of "painted ones." Chapter two considers the pastoral and anti-pastoral topoi of Ashbery’s Vietnam-era poetry and his tendency to "wander away" from political commitment. Chapter three examines Ashbery’s recurrent tropes of "flow" and his tendency to literalize the stream-of-consciousness metaphor and "dissolve" his own style at decisive moments of his career. Chapter four reads the "bad" nature poetry of Ashbery’s late period (1987 to the present) as the culmination of a career-long investment in camp irony’s "good taste of bad taste" and as a response to ecological crisis. The coda, a survey of Ashbery’s critical prose, examines his penchant for “a completely new kind of realism."
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Rodrigo, Ricardo Alexandre Fernandes. "Eco - habitar. Requalificação do Jardim dos Poetas de Abril. Integração de um Centro Comunitário e de um Centro Desportivo para o bairro Padre Cruz com base nas categorias de certificação LEED." Master's thesis, Faculdade de Arquitectura de Lisboa, 2011. http://hdl.handle.net/10400.5/3932.
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Mccawley, Nichola Lee. "Re-sounding radicalism : echo in William Blake and the chartist poets Ernest Jones and Gerald Massey." Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/resounding-radicalism-echo-in-william-blake-and-the-chartist-poets-ernest-jones-and-gerald-massey(c8cc6dbf-b0c2-4b1a-9e9e-a0b284e0ff73).html.
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This thesis argues that William Blake’s poetry creates meaning through internal poetic echoes, and that these Blakean echoes re-sound in Ernest Jones and Gerald Massey’s Poetry. There is no demonstrable link between Blake and Chartism; this raises the question of how to account for poetic echoes that occur in the absence of a direct link. The thesis uses two complementary methodological strategies. The significance of the Blakean echoes in Jones and Massey’s work will be demonstrated through extensive close textual analysis. This is accompanied by the historically focused argument that the Blakean echoes in Chartist poetry can be explained by a shared underlying cultural matrix of radical politics and radical Christianity. Chapter 1 opens by presenting the evidence against a demonstrable link between Blake and the Chartists. It outlines how the lack of a direct link impacts upon our understanding of the Blakean echoes in Chartist poetry. Existing theories of influence insufficiently describe these textual effects; this chapter draws upon aspects of Intertextuality and New Historicist theory to propose that Blake, Jones and Massey’s poetry is best considered in terms of echo, re-sounding and correspondence. Chapter 2 addresses the question of how Blakean echoes can occur in the absence of a direct link. Using recent Blake scholarship as a methodological model, this chapter outlines the ‘cultural matrix’ theory, suggesting that Blake and the Chartists engaged with many of the same radical historical ‘threads’. Chapter 3 explores key examples of Shelleyan influence in Jones and Massey’s poetry. This chapter highlights the direct intertextual link between Shelley and the Chartists and demonstrates how Chartist poetry might be discussed in terms of influence and allusion. Chapter 4 outlines the most notable Blakean echoes in the poetry of Jones. Jones’ poetry resonates with images of Priestcraft and Kingcraft, as well as chains and binding; similar images play a central role in Blake’s Songs of Innocence and Experience. The chapter contains significant engagement with Blake studies; it presents Blake’s imagery as echoingly interconnected both within and across poems and collections. Chapter 5 extends this close textual exploration to the work of Massey. Massey’s poetry contains many of the key Blakean images identified in the work of Jones. However, ‘The Three Voices’ contains an uncanny resonance of Blake; echo occurs as mis-hearing and trace. ‘Echo’ is not being used as a simple substitute for ‘allusion’, ‘influence’ or ‘intertext’, but here denotes an entirely different textual effect that must be judged in new terms. The conclusion summarises the thesis and asks whether the radical nature of Blake, Jones and Massey’s shared culture may have affected not only their vocabulary of imagery, but also the way in which these images were deployed.
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Lima, Aline Rezende de Almeida. "Uma poética da naturalidade: ecos de Manuel Bandeira nas crônicas de Rubem Braga." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/14891.
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Previous issue date: 2009-04-30The chronicle of Rubem Braga presents itself as one of the most striking of modern Brazil. Significant part of that authority is the lyricism that foist his prose. Poet of the streets, had a sharp sensitivity to capture the fleeting beauty, in women or in quotidian facts. The informal language of the text, with acres of chat, disguises a high degree of complexity. The critic David Jr. Arrigucci identified the style of the chronicler similarities with the poetry of Manuel Bandeira, which named the "humble". The central objective of this work is testing the limits and close the relationship between Braga's chronicles and Bandeira's poems. This research will be carried out in three aspects, in which similarities re: lexical (which involves the direct syntax and informal elocution), literary (epiphany and procedure of construction of the text), theme (the prominent position of women). The study is based on two types of analysis: style - that is, the arrangement of language and sound elements, syntactic and semantic - and discourse analysis. The stylistic analysis provides the elements necessary to examine the use of own resources of poetry in the chronicles of Braga. The analysis of discourse, by contemplating the vision of the world that exists behind the poetic construction, allows the exploration of possible meanings suggested by the text. Combining these two forms of research, we offer a more comprehensive reading of the poetic narrative of Rubem Braga. Throughout the analises, we recognized that the two writers' text is marked by an appearent simplicity, that disguises a meticulous process of compisitional style. There are poetic marks hiden in the prose. Given the level of elaboration through the spontaneity of which it is obtained we may refer to the style as poetry of the naturality of trivialities. For conceptual reasons, we call on both the Russian formalist school - Roman Jakobson, Yuri Tynianov and Victor Chklovski - and the studies developed by Mikhail Bakhtin, for we believe it is complementary lines - beyond the providential readings of the work of Braga and Bandeira made by Brazilians critics
A crônica de Rubem Braga se apresenta como uma das mais marcantes da literatura brasileira moderna. Parte significativa dessa autoridade advém do lirismo que Braga impingiu à sua prosa. Poeta das ruas, ele tinha a sensibilidade aguçada para captar a beleza fugaz, estivesse ela nas mulheres ou nos fatos corriqueiros. A linguagem informal do texto, com ares de batepapo, disfarça um alto grau de complexidade. O crítico Davi Arrigucci Jr. identificou no estilo do cronista semelhanças com a poética de Manuel Bandeira, a qual batizou de humilde . O objetivo central deste trabalho é testar as proximidades e limites da relação entre as crônicas de Braga e os poemas de Bandeira. A investigação será realizada em torno de três aspectos, nos quais enxergamos similaridades lexical (sintaxe direta e elocução informal), literária (epifania como procedimento de construção do texto) e temática (destaque ao cotidiano e à figura da mulher). Ao longo da análise, verificamos que o discurso dos dois escritores se reveste de uma simplicidade aparente, que escamoteia um meticuloso processo de elaboração da linguagem. São marcas poéticas disfarçadas de prosaísmo. Dado o nível de elaboração por meio do qual esse traço de espontaneidade é obtido, passamos a nos referir ao estilo como poética da naturalidade. O estudo estará fundamentado em dois tipos de análise: estilística isto é, nos arranjos de linguagem e seus elementos sonoros, sintáticos e semânticos; e do discurso. A análise estilística fornece os elementos necessários para examinarmos o uso de recursos próprios da poesia nas crônicas de Braga. A análise do discurso permite contemplar a visão de mundo que existe por detrás da construção poética e explorar as possíveis significações sugeridas pelo texto. Ao combinar essas duas formas de investigação, pretendemos oferecer uma leitura mais abrangente da narrativa poética de Rubem Braga. Para a fundamentação conceitual, recorremos tanto à chamada escola formalista russa Roman Jakobson, Yuri Tynianov e Victor Chklóvski quanto aos estudos desenvolvidos por Mikhail Bakhtin, por acreditarmos tratarem-se de linhas complementares além das providenciais leituras das obras de Braga e Bandeira feitas por críticos brasileiros
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Rubbi, Nicolò. "L'opera inquieta. Julio Cortázar e il gioco dei generi letterari." Doctoral thesis, Università degli studi di Trento, 2007. http://hdl.handle.net/11572/312424.
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Julio Cortázar è autore che in Italia tutti leggono e pochissimi davvero conoscono. Il presente lavoro di ricerca nasce dal desiderio di redigere uno studio esaustivo sull’autore argentino. Uno degli elementi di novità è senz’altro la volontà di non soffermarsi unicamente sull’opera in prosa, quei racconti e romanzi per i quali lo scrittore è riconosciuto a livello mondiale, procedendo piuttosto con uno scavo ulteriore ed anteriore che tenga conto anche (e soprattutto) della poco conosciuta opera in versi e dei primi scritti critici.
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Rubbi, Nicolò. "L'opera inquieta. Julio Cortázar e il gioco dei generi letterari." Doctoral thesis, Università degli studi di Trento, 2021. http://hdl.handle.net/11572/312424.
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Julio Cortázar è autore che in Italia tutti leggono e pochissimi davvero conoscono. Il presente lavoro di ricerca nasce dal desiderio di redigere uno studio esaustivo sull’autore argentino. Uno degli elementi di novità è senz’altro la volontà di non soffermarsi unicamente sull’opera in prosa, quei racconti e romanzi per i quali lo scrittore è riconosciuto a livello mondiale, procedendo piuttosto con uno scavo ulteriore ed anteriore che tenga conto anche (e soprattutto) della poco conosciuta opera in versi e dei primi scritti critici.
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Rubbi, Nicolò. "L'opera inquieta. Julio Cortázar e il gioco dei generi letterari." Doctoral thesis, Università degli studi di Trento, 2021. http://hdl.handle.net/11572/312424.
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Julio Cortázar è autore che in Italia tutti leggono e pochissimi davvero conoscono. Il presente lavoro di ricerca nasce dal desiderio di redigere uno studio esaustivo sull’autore argentino. Uno degli elementi di novità è senz’altro la volontà di non soffermarsi unicamente sull’opera in prosa, quei racconti e romanzi per i quali lo scrittore è riconosciuto a livello mondiale, procedendo piuttosto con uno scavo ulteriore ed anteriore che tenga conto anche (e soprattutto) della poco conosciuta opera in versi e dei primi scritti critici.
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Filler, Christopher Stephen. "Heart knowledge: towards (w)holistic ecoliteracy in teacher education." Thesis, 2013. http://hdl.handle.net/1828/4503.
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Despite repeated calls internationally, nationally and provincially to place the development of ecoliteracy as a curricular priority, there continues to be a lack of attention provided towards this goal, in particular opportunities for direct contact with the natural world in terms of fostering ecoliteracy in student teachers (Tuncer, 2009; Davis, 2009, Gough, 2009, Beckford, 2008; Blanchet-Cohen & Elliot, 2011). Teachers play key roles in advancing environmental education efforts and the environmental literacy of future generations. Insufficient teacher preparation has been identified as one factor in the weakness of environmental education efforts and environmental education curriculum (Beckford, 2008; Lin, 2002; Knapp, 2000). Furthermore, adequate environmental education preparation of students in teacher-training programs is essential for helping future teachers design and implement effective environmental education curriculum (Cutter-Mackenzie and Smith, 2003; Mc Keown-Ice, 2000; Spork, 1992)..Future generations of students need to begin to perceive themselves, once again, in terms of being connected to a larger story which includes the more-than-human world. I argue that education needs to play an important role in that re-connection, and that teacher education, as a fertile place of in-betweenness, can represent an important step toward that goal. Using a combination narrative and phenomenological inquiry, I explore the storied insights of ten student teachers as they struggle to navigate the tensions, disruptions and opportunities that form the waters between their nature-self and their teacher-self. Along with a questioning of current conventional approaches to teaching ecoliteracy in schools, the Aboriginal concept of “heart knowledge” (Aluli-Meyer, 2008) is provided as a way of knowing which is congruent with the aims of an holistic ecoliteracy within teacher education.Graduate
0727
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cfiller@uvic.ca
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Valley, Rebecca. "Lake Echo." 2020. https://scholarworks.umass.edu/englmfa_theses/124.
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“Lake Echo” is a collection of poems in three parts. It centers around a fictionalized rural landscape, and the nuanced family dynamics and social systems that accompany rural spaces. The poems focus on memory and trauma, and how trauma can be performed by the body – theatre and staging are central metaphors in the collection, as the narrator considers her own modes of performance, and the disembodiment caused by trauma and unhealthy learned behaviors. The poems are bound by a repeating title, “Lake Echo,” in which the narrator reflects again and again on both physical and emotional landscapes. In the Afterword, I discuss poetic and theatrical influences for the collection, as well as ways of knowing that come from animal interaction and engagement; animals populate the collection, and are a primary source of inspiration for the text. I also discuss Vievee Francis’s “antipastoral” poems, and the idea of remaking or redefining rural poetics.
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Hertz, Eric. "New organs." Thesis, 2018. https://hdl.handle.net/2144/33223.
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Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the lock icon and filled out the appropriate web form.A collection of poems from 2016-2018
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"Self- nature relationships revisited: deep ecology, eco-feminism, and Wang Wei's landscape poetry." 2006. http://library.cuhk.edu.hk/record=b5892831.
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Lam Yee Man.Thesis (M.Phil.)--Chinese University of Hong Kong, 2006.
Includes bibliographical references (leaves 95-103).
Abstracts in English and Chinese.
Abstract --- p.ii
Introduction --- p.1
Chapter Chapter one: --- The anthropocentrism/ androcentrism debate --- p.10
Chapter Chapter two: --- Self/ nature relationships: Self Realization and the relational self --- p.37
Chapter Chapter three: --- the self/ nature relation in Wang's object- oriented poems --- p.53
Conclusion --- p.82
Endnotes --- p.86
Bibliography --- p.95
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Yau, Hsiau-hung. "Henry James's Poetics of Space: A Bachelardian Reading." 2005. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0021-2004200719150386.
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Yu-yan. "Metaphorizing Migrancy: V. S. Naipaul's Fiction and Diaspora Poetics." 2002. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0021-2603200719123644.
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"The Poetic Transformation: Readerly Awareness and Self-Existence in Edgar Allan Poe's Tales of Terror." 2004. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0021-2004200709385543.
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Chen, Yi-chiao, and 陳奕僑. "An Analysis and Performance Interpretation of Piano Works by Tyzen Hsiao─Taking《Memories of Home, Op.49》and《Poetic Echo, Op.37》as Examples." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/33jdyr.
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碩士國立臺南大學
音樂學系碩士班
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Tyzen Hsiao（b.1938）is one of the most important composers in Taiwan, and has won the reputation as “the Rachmaninoff of Taiwan – the last Piano Poet of Romanticism”. He dedicated himself in combining Taiwanese local music with Western music vocabulary, and his compositions were known for the rich sentimental and elegant melodies. This thesis studies his piano works 《Memories of Home, Op.49》 and 《Poetic Echo, Op.37》. The first chapter defines the scope of the thesis, including the purpose and method of research. The second chapter explores the life and education history of Tyzen Hsiao and gives a brief introduction of the styles his music. Chapter three analyses the structural elements of these two sets of works, including tempo, tonality, style, and melody. Chapter four focuses on the performance interpretations of these piano works, and provides pedagogical strategies. The last chapter is the conclusion and suggestions. The outcome this research results is to provide practical information and suggestions for educators and students.
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Hui-Hua, Wang. "Penitential Politics and Poetics: Catholic Auricular Confession and Reformed Church Repentance as Techniques of Government in Shakespeare." 2006. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0001-2607200616555900.
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Moshoetsi, Sifiso Ike. "Guns, spears and pens : the role of the Echo poems in the political conflict in the Natal Midlands." Thesis, 2002. http://hdl.handle.net/10413/3719.
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This thesis sets out to examine the role of the poems in Echo (a supplement to the Natal Witness) that were published between 1986 and 1994. I will be exploring these poems in the light of the political conflict that was taking place between Inkatha, on the one hand, and the United Democratic Front/Congress ofSouth African Trade Unions (UDF/COSATU), and later on the African National Congress (ANC), on the other.
The introductory chapter will deal with the scope ofmy research. It will outline what it is that I will be researching and the direction of my research. I will also begin to introduce some of the key theoretical assumptions around izibongo (praise poetry) and some of its key definitions as a
dominant tradition that influenced some of the Echo poets.
Chapter Two will deal with the history of the Echo Poetry Corner itself. It looks at its early beginnings, who conceived the idea and why, and what the editorial policy of this page was. It will also shed some light on how complex issues, such as the originality and authenticity of the poems,
were dealt with.
The third chapter deals with the background to the political conflict in the Natal Midlands and in Pietermaritzburg in particular. It will be an analysis of violence, its origins and its interpretations, and will show how violence affected the people and the poets around Pietermaritzburg.
In Chapter Four I will begin to critically analyse the poems, looking at various themes that were expressed in the poems. I will also define the role that these poems played in the political conflict, looking at whether they engaged with the reality of the time or tried to escape it.
In conclusion, Chapter Five deals with my findings on the role that the Echo poems played during the political conflict. It will also address the issue of the role of the poet or poetry in a violent society. The positive role of poetry during war will also be dealt with.Thesis (M.A.)-University of Natal, Pietermaritzburg, 2002.
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Tzu-fu, Wang. "From Crisis to Regeneration: The Formation of Poetical Self in Wordsworth's Poetry." 1999. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0021-1804200714165656.
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