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Dissertations / Theses on the topic 'Norse poetry'
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Sandberg, Peter Benedict. "Repetition in Old Norse Eddic poetry : poetic style, voice, and desire." Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10051080/.
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This thesis examines the use of repetition as a poetic device in Old Norse Eddic verse from a primarily stylistic point of view. Previous studies have noted the prominence of repetition as a feature of Eddic poetry, but without engaging in an in-depth analysis of the use and significance of Eddic repetition as this thesis does. The analysis begins at the level of syntax in the Eddic strophe, establishing in the first place the syntactic formulae that constitute the most basic building blocks of repetition in Eddic poetry, focusing closely on individual lines and strophes from a broad range of texts. From there the analysis follows the increasing complexity of Eddic repetition, moving from pure syntax to the use of deictic markers in dialogic repetition, as well as the distinct yet clearly related style of repetition of individual words in Eddic poems. These strands of analysis are finally synthesized in the examination of the sophisticated programs of repetition in certain individual poems, particularly Skírnismál and Vǫlundarkviða. Through an analysis of the stylistic structure of repetition in these texts, a completely new reading and fresh understanding of them is possible. The methodological basis of the thesis is close reading and linguistic and stylistic analysis, with extensive reference to a wide range of linguistic, literary, and critical theory. Methodological sources have been selected on the basis of their usefulness to the task at hand rather than the validation of a wider methodological program, and the results provide a productive interrogation both of existing scholarship on Eddic poetry and of the assumptions of the methodological sources. The result is a new understanding of the source material as well as a valuable addition to the study of verbal art in general.
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Robinson, Peter Max Wilton. "An edition of Svipdagsmal." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315879.
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Romano, Christian. "Skald risti. En studie av förhållandet mellan fornöstnordiskt och fornvästnordiskt diktarspråk." Thesis, Uppsala universitet, Institutionen för nordiska språk, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-160705.
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Birkett, Thomas Eric. "Ráð Rétt Rúnar : reading the runes in Old English and Old Norse poetry." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:e7ea1359-fedc-43a5-848b-7842a943ce96.
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Responding to the common plea in medieval inscriptions to ráð rétt rúnar, to ‘interpret the runes correctly’, this thesis provides a series of contextual readings of the runic topos in Anglo-Saxon and Old Norse poetry. The first chapter looks at the use of runes in the Old English riddles, examining the connections between material riddles and certain strategies used in the Exeter Book, and suggesting that runes were associated with a self-referential and engaged form of reading. Chapter 2 seeks a rationale for the use of runic abbreviations in Old English manuscripts, and proposes a poetic association with unlocking and revealing, as represented in Bede’s story of Imma. Chapter 3 considers the use of runes for their ornamental value, using 'Solomon and Saturn I' and the rune poems as examples of texts which foreground the visual and material dimension of writing, whilst Chapter 4 compares the depiction of runes in the heroic poems of the Poetic Edda with epigraphical evidence from the Migration Age, seeking to dispel the idea that they reflect historical practice. The final chapter looks at the construction of a mythology of writing in the Edda, exploring the ways in which myth reflects the social impacts of literacy. Taken together these approaches highlight the importance of reading the runes in poetry as literary constructs, the script often functioning as a form of metawriting, used to explore the parameters of literacy, and to draw attention to the process of writing itself.
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Crockatt, Ian. "Poetry, accuracy and truth : translating the Old Norse skaldic verse of Ro̜gnvaldr Kali Kolsson, Earl of Orkney, 1135-1158." Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=220454.
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This thesis analyses my attempt to make engaging English language literary translations of complex Old Norse skaldic poetry, translations which convey significant elements of the form, sound patterns and referential reach of the originals. The primary focus is on the lausavísur (loose, or single verses) of Rǫgnvaldr jarl Kali Kolsson, Earl of Orkney from 1135 until 1158. It argues that translations of poetry should find equivalents not just for the semantic sense of the originals, but for the accumulated significance of all the factors that make it poetry. In developing this argument I suggest that the word 'meaning' when applied to poetry is reductive, and introduce a new terminology based on the terms 'sense', 'contextual sense', 'significance' and 'accumulated significance'. Because the thesis is an amalgam of my work with both Creative Writing and Old Norse Studies, Old Norse terms and names are used whenever possible, reinforcing my understanding that translation is a meeting of two voices, personalities and cultures. The aim is to make visible, and audible, the voices drawn on and I therefore focus in Chapter three on my own poetic voice as well as Rǫgnvaldr's. Chapter Two discusses the origins, structure and development of Old Norse verse, and analysis of the dróttkvætt [court poetry] verse-form is continued in greater detail in Chapter Four. There is also discussion in Chapter Four of kennings and of Conceptual Metaphor Theory. Chapter Five focuses on historical understandings of the theory and practice of translation. This includes a comparative analysis of translations of skaldic poetry into English from the eighteenth century to the present day, and culminates in the development of a classification of translation types as applied to skaldic poetry. Chapter Six considers the history of the translation of Rǫgnvaldr's lausavísur, and analyses some of the assumptions and practice issues underlying my own translations of his work as set out in Chapter Seven.
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Schorn, Brittany Erin. "'How can his word be trusted?' : speaker and authority in Old Norse wisdom poetry." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/241661.
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In the eddic poem Hávamál, the god Óðinn gives advice, including a warning about the fickleness of human, and divine, nature. He cites his own flagrant deception of giants who trusted him in order to win the mead of poetry as evidence for this deep-seated capacity for deceit, asking of himself: ‘how can his word be trusted?’ This is an intriguing question to ask in a poem purporting to relate the wisdom of Óðinn, and it is a concern repeatedly voiced in regard to him and other speakers in the elaborate narrative frames of the Old Norse wisdom poems. The exchange of wisdom in poetic texts such as this is no simple matter. Wisdom is conceived of as a body of knowledge, experience and observation that binds together all aspects of human life, the natural world and the supernatural realms. But its application depended heavily on the way in which it was passed on and interpreted. This dissertation examines the ways that these poems reflect on the interpretation and value of their own contents as a function of the particular speaker and circumstances of each wisdom exchange. The texts which form the foundation of this enquiry are the so-called eddic poems: alliterative verses largely preserved within a single manuscript of the thirteenth century, though many are arguably of much earlier date. About a dozen of the surviving poems might be classed, however tentatively, as concerning wisdom, though the route to this classification is not straightforward. Definition of this corpus, and of the genre of wisdom literature more widely, is thus the principal aim of the introductory Chapter I, while Chapter II expands on the question of material and methodology by scrutinizing the idea of wisdom in general within Old Norse. Crucial here is an examination of the terms used for wisdom and associated concepts, which suggest an antagonistic view of how knowledge might pass from one person to another. Close readings of the text and sensitivity to the manuscript context of each poem, as well as consideration of the significance of their potential oral prehistory and awareness of comparable literatures from other contexts, are established here as the dominant mode of analysis. Observations derived from the interpretation of comparable literatures also inform my approach. With a grounding in wisdom literature more generally and with the salient concepts relating to knowledge transfer thus established, I go on to examine specific points and groups within the body of eddic wisdom poetry which shed light on the evolving interpretation of wisdom exchange. An important case-study analyzed in this way in Chapter III is perhaps the most complex: Hávamál itself, a famous but notoriously problematic text probably reflecting multiple layers of composition. It is at the heart of the question of how mankind relates to supernatural beings - a relationship which could be particularly fraught where the transmission of wisdom occurred. Thus this chapter also contains analysis of terminology for men, gods and other supernatural beings which sheds light on the relationships between the human and the divine. Chapter IV expands on these issues to consider three paradigms of mythological wisdom instruction which bridge different worlds, human and supernatural, or between different supernatural domains: poems in which Óðinn dispenses wisdom; those in which he acquires it from a contest with another living being; and those in which he acquires it from the dead through sacrifice and magical ability. These chapters establish the 'traditional' form of wisdom exchange as defined through eddic verses that adopt a broadly pre- or non-Christian setting. Yet eddic verse-forms did not die out with conversion, and in some cases were exploited for new compositions written from an explicitly Christian perspective or with parodic intent. These poems, discussed in Chapter V, cast an important sidelight onto the associations of eddic verse as a medium for conveying information of complicated or questionable authority. The concluding Chapter VI then addresses questions of what we may deduce from the preceding chapters about evolving cultural attitudes towards wisdom, authority and truth in medieval Iceland.
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Ferreira, Annemari. "The politics of performance in Viking Age skaldic poetry." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:1aa55225-8e44-4fea-a9ff-55f72209e590.
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This thesis examines the political functions of the performance of skaldic poetry during the Viking Age. It aims to establish the vital role that skaldic verse plays in the establishment and maintenance of power, as well as the importance of skaldic performance in the negotiation of that power in the inter-community relations between various courts both within and outside of Viking Age Scandinavia. The first chapter provides a contextual understanding of Viking Age power structures by considering the central ideological constructs surrounding the concept of óðal (ancestral property). Óðal-derived power, it will be shown, is based on ruler-presence (which extends to ancestral presence) in the landscape, which is perceived as a crucial element in the legitimisation of authority and power. My second chapter will consider the political significance of skaldic performance within the context of ruler itinerancy, which develops in response to political practices based on the importance of óðal-derived legitimacy. Of particular importance in this respect, will be the use of 'presencing' proper- and praise-names in skaldic poetry that effect both spatial and temporal itinerancies in a highly distributable format. My third chapter will establish the representational features of skaldic performance and elaborate on the definition of Performance not only as action (in the Austinian sense), but also as a type of action that is defined by its artifice, its temporal continuity and its emergent dialogism. This will provide the theoretical context for my fourth and final chapter which will aim to examine the employment of skaldic Performance in Viking Age diplomatic praxes. Here the phenomenologically perceived 'binding' of the Self through the dialogic rhythmicity that arises out of skaldic ambiguity and crypticism will be of central importance.
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Schlereth, L. T. "British theories of mythology and Old Norse poetry : a study of methodologies in the mid-19th to early 20th centuries." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1346490/.
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This study is an examination of the major theories concerning mythology that were popular in the United Kingdom from the mid-nineteenth century to the early twentieth century and the ways in which they can be applied to Old Norse myth. The goal is to develop a greater understanding of how specific theories can or cannot be applied to certain mythological poems that are contained with the Poetic Edda collection. The examination begins with the etymological approach of Max Müller and his applicability to Alvíssmál, Skírnismál and Lokasenna. It will be shown that Müller’s ideas are difficult to apply, with only Skírnismál being particularly receptive. The next chapter examines the development of anthropological approaches, specifically that of Edward Tylor and Andrew Lang, and the content of Vafþrúðnismál and Vǫlospá. These poems will be shown to have many indicators of the scholar’s theories, but offer little insight into any larger, societal, functions the myths contained within the poems may have served. The third chapter focuses on the role ritual was thought to play in relation to myth and continues the examination of Vafþrúðnismál and Vǫlospá from the perspective of William Robertson Smith and Sir James George Frazer. Here, special focus is placed on the riddle-contest form of Vafþrúðnismál and the narrative surrounding the god Baldr that is partially contained in Vǫlospá. Finally, the study analyzes the theories of the Cambridge Ritualists and Bertha Phillpotts; scholars who posited that myths were derived from not only rituals, but ritual dramas. These final scholars will reveal that at the beginning of the twentieth century there was good reason to believe some of the Poetic Edda poems had a previous dramatic state, but more thorough research was needed. The study concludes with a summary of scholarship that followed these academics and possible future avenues of examination.
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Mattioli, Vittorio. "Grímnismál : a critical edition." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/12219.
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The purpose of this thesis is an in-depth analysis of the Eddic poem Grímnismál found in the manuscript known as Codex Regius (GKS 2365 4to), located in Reykjavík, dated to c. 1270 and a fragment (AM 748 I 4to), located in Copenhagen, dated to c. 1300. While a great deal of work has been done on Grímnismál as part of the Elder Edda, there is yet no specific edition focusing on it alone. New studies on Germanic paganism and mythology show its shifting nature and the absence of specific tenets or uniform beliefs throughout the Germanic speaking world and in time. The relatively absent sources are similarly scattered. As such, the thesis suggests a new method of study, following a focused historical approach in which only Grímnismál is analysed in an attempt to understand the beliefs of the people that composed it. The nature of pagan belief itself prevents one from drawing more general conclusions on ‘Norse mythology' as a whole. Part 1 is divided into two chapters and deals with my approach, the nature of Germanic belief, and the sources available as well as techniques of interpretation for them, all relevant to the production of the arguments made in the thesis. Part 2 deals with Grímnismál itself: Chapter 1 provides an analysis of the manuscripts, Chapter 2 contains my editing notes and Chapter 3 analyses the contents of the poem, Chapter 4 consists of my conclusions to this study, focusing on the cosmology and the dating of the poem. Part 3 contains the edition of Grímnismál and is followed by Part 4 which is the commentary to the poem. The thesis is followed by two appendices, one containing a facing transcription of the manuscripts and the other being a glossary to all words used in Grímnismál. Finally, this thesis includes a digital edition worked on xml. This is available in the following link: https://starescomp.github.io/grimnismal/#idm140518410334752
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Grigg, Madeline J. "Dog Stars." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555682074446507.
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North, John Richard James. "Words in context : an investigation into the meanings of Early English words by comparison of vocabulary and narrative themes in Old English and Old Norse poetry." Thesis, University of Cambridge, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.254524.
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Bäckvall, Maja. "Skriva fel och läsa rätt? : Eddiska dikter i Uppsalaeddan ur ett avsändar- och mottagarperspektiv." Doctoral thesis, Uppsala universitet, Institutionen för nordiska språk, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-197715.
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This dissertation focuses on the eddic poetry in the Codex Upsaliensis DG 11 4to, the Uppsala Edda. The manuscript has long been considered too far removed from the assumed original of the text to be of much use to editors, with the result that it was largely neglected by philologists during the last century. The eddic poetry in DG 11 differs in many instances from the other main manuscripts, and this study aims to examine these variants from the point of view of the 14th century scribe and reader of the manuscript. The dissertation’s framework comes close to what is known as New or Material Philology, but since the focus is more on the abstract than the material sides of the manuscript, the study’s theoretical framework is tentatively called descriptive reception philology. In all, 57 stanzas of eddic poetry are examined. The study does not include variation in names or metrics other than alliteration, which means that 10 stanzas consisting almost entirely of names have been excluded. The remaining 57 stanzas contain 137 variants that DG 11 shares with half or fewer of the other manuscripts. These variants are analysed with the aim of deciding whether they were consciously written by the scribe and to what extent the reader could have understood them. Consciously produced variants are said to belong to the sender witness, and if they were probably understood, they are also placed in the receiver witness. Variants not immediately understood by the readers are called incongruities and need to be reinterpreted in order to become part of the receiver witness. If they cannot be interpreted, they are categorised as actual errors. The analysis shows that the vast majority of deviating variants belong to both the sender and receiver witnesses. There are also indications that the eddic poetry was in part quoted from a different exemplar than the prose, an exemplar containing versions of the poems not otherwise known today. Rather than being regarded as confused and incomprehensible, DG 11’s eddic poetry was accepted as the version known by the manuscript’s contemporary users.<br><p>Disputationsspråk är både danska och svenska.</p>
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Harskin, Robin Peter Simon. "Poetics, philosophy and structure in the poetry of Norge." Thesis, University College London (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339216.
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Smith, Rachel Alexis. "Go Out and Make Every Noise." Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1241496149.
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Missuno, Filip. "'Shadow' and paradoxes of darkness in Old English and Old Norse poetic language." Thesis, University of York, 2012. http://etheses.whiterose.ac.uk/3158/.
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This thesis confronts, explores, and attempts to meaningfully interpret a surprising nexus of stimulating cruces and paradoxes in Old English poetry and prose and Old Norse skaldic and Eddic poetry. The study focuses on the complex linguistic and literary manifestations of darkness, a complex and long-underestimated phenomenon for which the most appropriate term is ‘shadow’. Rather than operating with modern categories and traditional dichotomies (light/darkness), I attempt to approach the evidence on its own terms, working from the words, their collocations, and narrow contexts up to larger literary assessments. Furthermore, the comparative Old English/Old Norse approach can provide both contextualisation for the findings and control over what we can and cannot infer from them. Reflecting these methodologies (presented in Chapter 1), the core part of the thesis (Chapters 2-5) unfolds from semantics and style to texts and literary traditions, alternating at both stages between Old English and Old Norse. Chapters 2-3 provide an in-depth examination of the formal and stylistic features and the immediate textual environments of ‘shadow’, enabling the reconstruction of semantic values and associations. In Chapters 4-5, I conduct close readings of the most relevant and revealing Old English and Old Norse texts. My case studies are further contextualised by enlarging the focus of enquiry and correlating the deployment of ‘shadow’ with questions of manuscript context, medium (prose/verse), form (skaldic/Eddic), genre (mythological/heroic/religious), and wider literary-historical links. Chapter 6 brings together the evidence for the existence, nature, and function of a ‘shadow’ theme, or themes, in Old English and Old Norse poetic language. Evaluating the significance of the parallels between the two traditions as well as within them, I recontextualise ‘shadow’ in relation to chronology, history, inheritance, contact and influence, and society and culture. The findings also afford new perspectives that can reshape our understanding of the underlying poetics.
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Mateus, Andrea Martins Lameirao. "A poética multifacetada de Jerome Rothenberg." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-14012015-170016/.
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A Poética Multifacetada de Jerome Rothenberg investiga o modo operacional da poética de Jerome Rothenberg (1931). Nascido em Nova York, em 1931, Rothenberg fez parte de uma geração intermediária entre movimentos poéticos bastante conhecidos de público e crítica: a poesia beatnik dos anos 1950 e 1960 e a language poetry do início da década de 1970. Junto com o poeta Robert Kelly, Rothenberg concebe a deep image nos anos 1960, movimento de curta duração, mas essencial para seu desenvolvimento poético. Rothenberg é conhecido principalmente por ter criado o termo etnopoesia e por seus experimentos com o que chamou tradução total, ao traduzir a poesia indígena norteamericana. A tradução total foi um método inovador de considerar a musicalidade, a presença de distorções de palavras ou palavras sem sentido, e outros mecanismos poéticos das artes verbais indígenas como parte integrante da composição. Dessa forma, o resultado da tradução deveria necessariamente contemplar todos esses aspectos. A partir de seu dito o primitivo é complexo Rothenberg passa a considerar aspectos poéticos da produção oriunda de culturas orais, ditas primitivas, como a base de seu conceito de etnopoesia. Sua busca pelo primitivo também o conecta diretamente com outros autores lidos como experimentais na poesia, de William Blake e Walt Whitman a Allen Ginsberg, passando por uma tríade modernista: Ezra Pound, William Carlos Williams e Gertrude Stein. A hipótese desta tese é demonstrar que o impulso etnopoético, aparentemente restrito ao seu trabalho como antologista e suas traduções, na realidade é mais abrangente e inclui sua própria produção poética. A etnopoesia se torna o conceito pelo qual podemos ler o seu retorno à sua ancestralidade judaica e seus poemas que tratam de temas como a vida dos judeus na Polônia dos anos 1930, a tradição mística da cabala e o Holocausto. A tese aborda também questões como inserção no meio poético, autoria, influência e originalidade<br>The Multifaceted Poetry of Jerome Rothenberg deals with the methods applied by Jerome Rothenbergs poetics. Born in New York, in 1931, Rothenberg was part of a generation in between well known poetic movements: the beatnik poetry from the 1950s e 1960s and the language poetry of the 1970s. With fellow poet Robert Kelly, Rothenberg starts the deep image in the 1960, a short-lived movement, yet an essential one for his poetic development. Rothenberg is better known for having coined the term etnopoetry and for his experimentations with what he called total translation, while working with North-American Indian poetry. Total translation was an innovative method in considering musicality, the presence of word distortions or meaningless words and other poetic mechanisms of Indian poetry as an integral part of a poem or song, so that the resultant translation would necessarily contemplate all these aspects. From the perspective of his saying primitive is complex, Rothenberg starts considering the characteristics of poetry from oral culture, or those called primitive, as the basis for his concept of an etnopoetics. His search for the primitive also connects him with authors read as experimental in poetry, from William Blake and Walt Whitman to Allen Ginsberg, passing through the modernist triad Ezra Pound, William Carlos Williams and Gertrude Stein. The hypothesis of this thesis is to show how the etnopoetic impulse, apparently restricted to his work as anthologist and translator, is, in reality, much more broad in its spectrum and includes his own poetic production. Etnopoetry then becomes the concept we can use to read his return to his Jewish ancestrality and the poems dealing with topics such as the life of Jews in Poland in the 1930s, the mystical kabbalah and the Holocaust. This thesis also shows his insertion in the poetic scene, and debates questions like authorship, influence, and originality
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Annunciação, Viviane Carvalho da. "Exile, home and city: the poetic architecture of Belfast." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-30102012-123412/.
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The present thesis is concerned with how the poetry written in Northern Ireland throughout the twentieth century reifies the city of Belfast through language, metaphor and imagery, compiling a concrete constellation of aesthetic experiments. It also examines how its poets have represented not only Belfasts concrete and architectural landmarks, but also its historical and spatial displacements. Due to the Anglo-Irish Treaty in 1922, through which Ulster remained a constitutive part of the British Isles, while the South started to build the foundations of what was going to become the Republic of Ireland, Northern Irish poets have built a poetic landscape that has been instead incessantly fragmented through the motifs of alienation and displacement of subjectivity. Through the analysis of the Belfast poems by the poets Louis MacNeice, John Hewitt, Padraic Fiacc, Michael Longley, Derek Mahon, Ciaran Carson, Paul Muldoon, Medbh McGuckian, Seamus Heaney, Sinéad Morrissey, Leontia Flynn, Allen Gillis and Miriam Gamble, the thesis shows the poetic architecture of Belfast points to wider sociological spaces. It is never alone, or even single, but always plural and globally referential. Through a space of confluence which brings together dissimilar discourses, the selected poems present a desire to possess Belfast artistically, a city where art, history and memories intermingle and interact in a dynamic manner. Images, styles and ideas are carried from generation to generation and create a constellation of fearful and hopeful dreams. It engages past and present in a fruitful reflection on identitarian and artistic belonging.<br>A presente tese tem como objetivo compreender como a poesia escrita na Irlanda do Norte representa a cidade de Belfast durante o século vinte. A hipótese defendida pela tese é a de que o trabalho poético com a métrica, figuras de linguagem e imagens cria uma constelação de experimentos estéticos. O trabalho também compreende como os poetas recriaram não somente os pontos de referência arquitetônicos de Belfast, mas também os seus próprios deslocamentos históricos e geográficos. Devido à assinatura do tratado anglo-irlandês em 1922 através do qual o Ulster se manteve parte das Ilhas Britânicas e o sul começava a 7 construir as fundações do que seria chamada futuramente de República da Irlanda, os poetas pertencentes à Irlanda do Norte criaram uma paisagem poética que é incessantemente fragmentada por meio da alienação e do deslocamento subjetivo. A análise dos poemas de Belfast escritos por Louis MacNeice, John Hewitt, Padraic Fiacc, Michael Longley, Derek Mahon, Ciaran Carson, Paul Muldoon, Medbh McGuckian, Seamus Heaney, Sinéad Morrissey, Leontia Flynn, Allen Gillis e Miriam Gamble, demonstra que a arquitetura poética de Belfast aponta para espaços sociológicos mais abrangentes. A cidade não é retratada singularmente, mas em sua conexão com outras localidades globais. Por meio de um espaço de confluência, que agrupa discursos diversos, os poemas selecionados apresentam um desejo simbólico de possuir Belfast, uma cidade em que arte, história e memórias interagem de forma dinâmica. Imagens e estilos são passados de geração para geração, criando uma constelação de sonhos aterrorizantes e esperançosos, que engajam passado e presente em uma reflexão sobre pertencimento identitário e artístico.
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Alves, Paulo Ricardo Pereira e. "Micropolítica do feminino e estética de confrontamento em Patti Smith e Ana Cristina Cesar." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-13022014-104137/.
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Unindo crítica cultural à pesquisa acadêmica, pretendemos mapear a poesia de Patti Smith e Ana Cristina Cesar, partindo de seus respectivos contextos da década de 1970 o movimento punk nova-iorquino, nos Estados Unidos, e a poesia marginal, no Brasil , para então explorar seus pontos de convergência, no que tange a uma micropolítica do feminino e a uma estética de confrontamento. Pensamos ambas as poetas como cartógrafas de uma época e das transformações intrínsecas a essa época, mapeadas por elas no fazer poético, no corpo da linguagem, por meio de uma política-estética; por elas somos levados à política como estética; à política menor, do eu mínimo, de Deleuze, em caráter contingente, de subjetividade e feminilidade. Discutimos também como, a voz do feminino localizado em Patti e Ana C. dá vazão à abertura de um novo tipo de experimentalismo que se integra a uma genealogia de arte/cultura e ao legado da poesia moderna travando diálogo com elementos catalisadores do pós-moderno que desembocariam no contemporâneo.<br>By merging cultural criticism and academic research, we aim to rummage the poetic works of Patti Smith and Ana Cristina Cesar, starting from their respective contexts in the 1970s the New York punk scene in the United States, and marginal poetry in Brazil , and on to explore their points of convergence within the micropolitics of the feminine and an aesthetics of confrontation. The two poets are taken as cartographers of a time and of the changes that are intrinsic to that time, which they chart on the making of poetry, on the body of language, by means of a politics-aesthetics. We are led to politics as aesthetics a politics of what is contingent, of subjectivity and of femaleness; Deleuzes minor politics, or politics of the minimal self. We will also discuss how, in the voices of the feminine (further than that of feminism) that underpin their poetics/aesthetics, a new kind of experimentalism opens up within a genealogy of art and culture and the legacy of modern poets thus engaging in a dialogue with a small/minor History, with the microsphere, the outsider, and disruption; unfoldings of nascent notions of the post-modern and the contemporary.
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Migliavacca, Adriano Moraes. "Hart Crane's "Voyages" : analysis and translation." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/76225.
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O cenário da poesia moderna de língua inglesa congrega uma série de autores ingleses e norte-americanos que criaram obras com estilos, formas, problemáticas e visões de mundo altamente diversificados. Uma ampla gama de recursos linguísticos e estéticos foi desenvolvida, incluindo o uso da colagem, a sintaxe fragmentada, o verso livre e a linguagem coloquial algumas vezes intercalada com a solene. Dentre tais autores modernos, o poeta norte-americano Hart Crane se destaca por sua obra poética de alta originalidade e complexidade e suas perspectivas estéticas bastante individualizadas. Em sua obra, Crane articulou recursos e referências literárias e filosóficas variadas. Sua poesia se caracteriza por uma versificação que contempla do pentâmetro iâmbico branco elisabetano ao verso livre moderno; uma sintaxe que se distancia da língua falada com inversões e rupturas; um vocabulário eclético que une arcaísmos a neologismos; uma retórica rica em figuras de linguagem; e um ideário simbólico e temático compreendendo as ideias e imagens místicas e metafísicas do simbolismo francês e a exploração de sentimentos individuais do romantismo inglês. Além desses referenciais, Crane foi particularmente inspirado e instigado pelo poeta norte-americano moderno T. S. Eliot, cuja erudição e domínio de técnicas como a colagem e o verso livre Crane tinha como modelo, mas de cujas perspectivas estéticas classicistas e tradicionalistas e visões da modernidade pessimistas Crane discordava e tentou refutar. Assim, Crane concebeu sua obra poética em grande parte como uma resposta à de Eliot, buscando antepor ao seu pessimismo uma visão mais otimista, postulando uma espiritualidade própria à experiência moderna, que, segundo Crane, deveria ser explorada e registrada pelo poeta. Para tal, Crane desenvolveu uma teoria estética pessoal que enfatizava a subjetividade e as experiências do próprio poeta assim como a tradição literária, englobando, entre outros, elementos da filosofia transcendentalista norte-americana. Esse empreendimento resultou em uma obra breve, porém rica, cuja complexidade foi muitas vezes reprovada como excessiva ou confusa, mas cuja influência e interesse vêm aumentando nos anos após sua morte. Este estudo oferece uma apresentação das principais características da obra poética e das perspectivas estéticas de Hart Crane, centrando-se na análise formal e temática e em uma tradução para o português da sequência de poemas intercalados conhecida como “Voyages”, presente no primeiro livro de Crane, White Buildings, e geralmente considerada uma de suas principais obras. Alguns dos mais significativos poemas de Crane são estudados à luz de suas próprias teorias estéticas e das avaliações de críticos com perspectivas variadas, como Allen Tate, Yvor Winters, R. W. B. Lewis, Margareth Uroff, Thomas Yingling e Lee Edelman, entre outros. Buscam-se uma compreensão de sua obra e a apresentação em língua portuguesa de um de seus principais trabalhos líricos com o objetivo de familiarizar o leitor e o estudioso brasileiro com as obras e ideias de um poeta de língua inglesa cuja importância vem sendo atestada ao longo dos anos.<br>The scenery of modern English language poetry congregates a number of English and North-American authors that created works with highly diversified styles, forms, problematic and worldviews. A wide range of linguistic and aesthetic resources was developed, including the use of collage, fragmented syntax, free verse, and the intercalation of colloquial and formal language. Among these modern authors, the North-American poet Hart Crane stands out due to his highly original and complex poetic works and his strongly individualized aesthetic perspectives. In his work, Crane articulated various philosophic and literary references and resources. His poetry is characterized by a versification that comprises both the Elizabethan blank iambic pentameter and the modern free verse; a syntax distanced from the spoken language with inversions and breakages; an eclectic vocabulary conjoining archaisms and neologisms; a rich and ornate rhetoric including complex figures of speech; and themes and symbols associated to mystical and metaphysical images and ideas from French Symbolism and the English Romantic exploration of subjective feelings. In addition to these references, Crane was particularly inspired by the North-American modern poet T. S. Eliot, whose erudition and mastery of techniques such as the collage and the free verse Crane had as a model, but with whose classicist and traditionalist aesthetic perspectives and pessimist views of modernity Crane disagreed and attempted to counter. Thus, Crane’s poetic work was largely conceived as a response to that of Eliot, aiming at opposing to his pessimism a more optimistic view, postulating a form of spirituality that is proper to the modern experience, which should be explored and registered by the poet, in Crane’s view. For such, Crane developed an aesthetic theory that emphasized the poet’s own subjectivity and personal experiences, encompassing elements of, among others, the American Transcendentalist school of thought. This endeavor resulted in a brief, but very rich poetic oeuvre, whose complexity has been often reproached as excessive or confusing, but whose influence and interest have been increasing in the years following his death. This study provides a presentation of the main characteristics of Hart Crane’s poetic work and aesthetic theories, focusing on the formal and thematic analysis and the translation into the Portuguese language of the poetic sequence known as “Voyages,” included in Crane’s first book and generally considered one of his main works. Some of Crane’s poems are here studied according to his own aesthetic perspectives as well as the evaluations of varied perspectives, such as those of Allen Tate, Yvor Winters, R. W. B. Lewis, Margareth Uroff, Thomas Yingling and Lee Edelman, among others. An understanding of Crane’s work and the presentation in Portuguese language of one of his most celebrated lyrical works are aimed at in order to familiarize the Brazilian reader and student with the works and the ideas of an English language poet whose importance has been attested throughout the years.
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Pereira, Alexandra Vieira de Carvalho Santana. "Aloisio Resende: um poeta negro "revoltado contra o destino" (Feira de Santana, 1900-1941)." http://www.posafro.ufba.br/_ARQ/dissertacao_alexandrapereira.pdf, 2009. http://www.posafro.ufba.br/_ARQ/dissertacao_alexandrapereira.pdf.
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Previous issue date: 2009<br>O trabalho que tem como título Aloisio Resende: um poeta revoltado contra o destino (1900- 1941) analisa a vida de Resende, um homem “de cor”, poeta, revisor, boêmio e
posteriormente redator do jornal Folha do Norte. No primeiro capítulo, apresentamos uma
discussão sobre as Teorias Raciais a fim de situar o leitor sobre conceitos que serão
continuamente utilizados no desenvolvimento do trabalho como: negro, “pessoas de cor”,
“novo cidadão”, “vadio” e “costume”. No segundo capítulo, discutimos desde o nascimento ao ápice da ascensão social de Resende em Feira de Santana, constando a reflexão sobre “os espaços do cotidiano do poeta nos subúrbios e nos locais de prestígio”. Falamos sobre “os Aloisios” que convivem juntos, ao apresentar as características de mudanças de nome, de
poeta e adepto ao candomblé. No último capítulo, discutimos a atuação política de Resende em sociedade, a sua defesa “pelos pobres” paralelamente à relação de cor e pobreza anunciadas nos inquéritos policiais e a sua morte. Buscaremos também problematizar, a partir das fontes jornalísticas e de memórias, a inexistência da informação sobre a “cor” de Resende
nestas fontes, embora uma fotografia presente no Folha do Norte evidencie suas origens africanas.<br>Salvador
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Erken, Geneviève. "L'hétérogénéité discursive en poésie: description, narration, argumentation chez Norge, Henri Michaux, Francis Ponge." Doctoral thesis, Universite Libre de Bruxelles, 2005. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211056.
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Le texte poétique devient, au XXe siècle, de plus en plus difficile à définir. Il a perdu plusieurs attributs qui aidaient autrefois à le caractériser (vers, rimes, parallélismes), et ne se laisse pas non plus circonscrire par le biais du lyrisme :bon nombre de poètes, en effet, ont abandonné le programme de la "poésie pure" pour renouer avec un art descriptif, narratif ou argumentatif. Dès lors, faut-il considérer que l'organisation poétique n'est qu'une structure de surface qui se surajoute à un type de texte de base, en entraînant certaines conséquences sur le plan sémantique et grammatical ?N'existe-t-il pas malgré tout des propriétés typiques de l'oeuvre poétique, qui permettent d'instaurer un rapport tout à fait particulier entre le lecteur, le langage et le monde ?<p>Nous avons voulu nous pencher sur ces questions en explorant le phénomène de l'hétérogénéité discursive chez quelques poètes francophones du XXe siècle. Nous constaterons que ceux-ci n'hésitent pas à décrire, à raconter ou à argumenter, mais nous verrons aussi que la poésie tend à transfigurer les schémas de base auxquels elle s'allie, si bien qu'un récit en vers n'est pas du tout semblable à son homologue en prose. C'est par cet angle d'approche que nous espérons contribuer à faire mieux comprendre le mystère poétique, qui déroute terriblement les jeunes lecteurs.<br>Doctorat en philosophie et lettres, Orientation langue et littérature<br>info:eu-repo/semantics/nonPublished
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SOUZA, Rosália Furtado Cutrim. "Dinâmica populacional do pargo, Lutjanus purpureus Poey, 1875 (Pisces: Lutjanidae) na plataforma norte do Brasil." Universidade Federal do Pará, 2002. http://www.repositorio.ufpa.br:8080/jspui/handle/2011/1991.
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Made available in DSpace on 2011-03-23T21:19:49Z (GMT). No. of bitstreams: 0<br>Growth, mortality, biometry and reproduction of the red snapper, Lutjanus purpureus was researched from samples obtained from landings of commercial catches in the northern Brazilian coast with auspicious of REVIZEE program and Biology and Fishing of the red snapper in the northern Brazilian Project of the CEPNOR/IBAMA . Total and zoological length data obtained from approximately 500 individuals were collected monthly in the cities of Belém, Vigia and Bragança, from January 1999 to December 2000. Sub-samples of 150 fishes were obtained monthly from April 1998 to January 2000 to study reproduction and biometry. In the CEPNOR/IBAMA laboratory were carried out biometry, identification of sexy type and gonadal maturation stages. The total of 16. 733 specimens, presents percentile superiors at 50% of young individuals. The amplitude of total class varied from 13 to 112 cm of length and the length averages were 45,72 cm and 51,91 cm, respectively for the year of 1999 and 2000. The morphometric and weight/length relationships show positive allometry. The weight/length relation of male and female differ significantly from Student statistic method. The reproduction was researched determining the sexual proportion under chisquare statistics, the size of first maturation and spawning period, that was analyzed temporal variation of frequency of the gonadal stages and gonadal-somatic relation. The whole research period was observed a female predominance in the month analysis only in April 1998, May and June 1999 do not present significant differences between male and female. In sexual proportion, by class length the predominance of female was highly significant from 28 to 45 cm. The total length class of first maturation was estimated between 43 a 46 cm from females by graphic extrapolation method and the 43,67 cm by adjust of Galton ogive. The reproductive period was defined in two points, one more intense in the second quarter of the year, with a larger amplitude in may/1998 and another one reduced in the fourth quarter same year. Growth parameters were estimated by ELEFAN I system, Bhattacharya, Gulland & Holt and Appeldoorn methods in FiSAT program. The Appeldoorn method presents the better adjust to red snapper with value of L= 115 cm, K= 0,091 year-1, and determine von Bertalanffy equation Lt = 115 (1-e 0,091t-to). The natural mortality was estimated in 0,25 year-1 e 0,31 year-1 by Pauly and Rikhter & Efanov equations, respectively. The total mortality estimated by converted length in curve of linearized catch and Beverton & Holt method reached values of 0,59; 0,664 respectively. Mortality by fishing and exploitation rate were also calculated and obtained values F = 0,34 year1 e E = 0,57. The longevity estimated by Taylor equation was 33 years. The red snapper presents slow growth and longevity life with periodic spawn. The fishing in the northern Brazilian coast happen high percentile of young fishes. That can contribute to overfishing growth , compromising the sustentability of the species and the fishing activity in the northern Brazilian coast. It is indispensable to adopt regulation measures to red snapper fishing, at least about minimum size capture.<br>O crescimento, a mortalidade, biometria e a reprodução do pargo Lutjanus purpureus foram estudadas a partir de amostras obtidas nos desembarques da frota comercial capturadas com pargueira na costa norte do Brasil no âmbito do programa REVIZEE e do Projeto biologia e pesca do pargo no norte do Brasil do CEPNOR/IBAMA. Dados de comprimentos total e zoológico de aproximadamente 500 indivíduos foram coletados aleatoriamente e mensalmente nos desembarques dos municípios de Belém, Vigia e Bragança, no período de janeiro de 1999 a dezembro de 2000. E para realizar estudos de reprodução e biometria foram obtidas subamostras mensais de 150 indivíduos em abril de 1998 a janeiro de 2000. No laboratório do CEPNOR/IBAMA foram realizadas as biometrias, sexagem e identificados os estágios de maturação gonadal. As amostras totalizaram 16.733 indivíduos com percentuais superiores a 50% de indivíduos jovens. A amplitude de classe total variou de 13 a 112 cm de comprimento e as médias de comprimentos foram de 45,72 cm e 51,91 cm, respectivamente para o ano de 1999 e 2000. As relações morfométricas e as relações peso/comprimento apresentaram alometria positiva. E a relação peso/comprimento para macho e fêmea diferem significativamente entre si, pelo teste de Student, bilateral, com alfa = 0,05. A reprodução foi estudada determinando a proporção sexual através do teste quiquadrado, o tamanho de primeira maturação e o período de desova, que foi analisado pela variação temporal das freqüências dos estágios gonadais e relação gonadossomática. Para todo o período estudado foi verificada a predominância de fêmeas e nas análises mensais apenas nos meses de abril de 1998, maio e junho de 1999 não apresentaram diferenças significativas entre os sexos. Na proporção sexual por classe de comprimento a predominância de fêmeas foi altamente significativa de 28 a 45 cm. A classe de comprimento total do tamanho de primeira maturação foi estimado 43 a 46 cm para fêmeas pelo método da extrapolação gráfica e de 43,67 cm pelo ajuste da ogiva de Galton. E o período reprodutivo foi observado em dois picos, sendo um intenso no segundo trimestre, com maior amplitude no mês de maio/1998 e um mais reduzido no quarto trimestre. Os parâmetros de crescimento foram estimados pelo sistema ELEFAN I, método de Bhattacharya, Gulland & Holt e Appeldoorn no programa Fisat. O método de Appeldoorn apresentou o melhor ajuste para a espécie com o valor de L= 115 cm K= 0,091ano-1 , que determinou a equação do crescimento de von Bertalanffy Lt = 115 (1-e 0,091tto). A mortalidade natural foi estimada em 0,25 ano-1 e 0,31 ano-1 pelas equações de Pauly e Rikhter & Efanov respectivamente. A mortalidade total estimada pelos métodos do comprimento convertido em curva de captura linearizada e Berverton & Holt atingiu valores de 0,59; 0,664 respectivamente. A mortalidade por pesca e a taxa de explotação também foram calculados. Os resultados foram F = 0,34 ano 1 e E = 0,57. A longevidade estimada pela fórmula de Taylor foi de 33 anos. O pargo apresenta crescimento lento e vida longa com desova contínua e periódica. A pesca na costa norte do Brasil incide em percentuais elevados de jovens o que pode contribuir para um estado de sobrepesca de crescimento, comprometendo assim a sustentabilidade da espécie e da atividade pesqueira na região norte. É imprescindível adotar medidas de ordenamento para a pesca do pargo, principalmente no que diz respeito ao tamanho mínimo de captura.
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Oliveira, Tássia Tavares de. "Identidade e hibridismo cultural na amazônia brasileira: um estudo comparativo de dois irmãos e cinzas do norte, de Milton Hatoum, e a selva, de Ferreira de Castro." Universidade Federal da Paraíba, 2017. http://tede.biblioteca.ufpb.br:8080/handle/tede/9304.
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Previous issue date: 2017-03-27<br>The present research focuses on the production of the Brazilian contemporary poet Marina Colasanti, having as our literary corpus four of her books of poems (1993), (1998), (2005) and (2009). In general terms, we defend that female poetic production has been for centuries parcially silenced by patriarchal cultural tradition, what justifies our proposal of developing a research in dialogue with established criticism on the literary production by women in the national context from a persective attuned with the field of women and literature. This sounds to us as a still necessary debate, despite considerable advances taken by women writers more recently. We believe that the lyric I in the selected poems by Colasanti gives evidence of relations and tensions established in the cultural field, marked by a gender system that gives priority to the masculine, here questioned by women’s perspective. Thus, we have taken the body as our category of analysis, in order to deal with the selected poems, having feminist and cultural studies as our main theoretical basis, discussing the body as always gendered, never neutral. So, we analyze how representations of the body and eroticism are connected to the feminine, observing the construction of cultural identities in respect to sexual difference. Our methodoly consists of developing a discussion of some gender theories, women’s literary production as well as studies on the history of the body and eroticism, followed by an analytical reading of the selected poems. Colasanti`s poetry is here taken as a way of rupture, of breaking with the historical interdiction imposed to women and the taboos affecting women’s bodies. We conclude that here the lyric eye gives opportunity to women to express or deal with female craving for freedom in respect to their bodies and their lives in wider terms.<br>A presente pesquisa enfoca a produção poética da escritora brasileira contemporânea Marina Colasanti, sendo o corpus de análise composto por poemas de seus quatro livros de poesia, (1993), (1998), (2005) e (2009). No âmbito mais amplo, partimos do pressuposto de que a produção literária de autoria feminina foi, ao longo de séculos, parcialmente silenciada pela tradição cultural patriarcal, o que justifica nossa proposta de apresentar um trabalho que se alie com os movimentos de reconhecimento da produção de escritoras contemporâneas no contexto nacional, vinculados aos estudos sobre mulher e literatura, proposta que percebemos como ainda necessária, apesar dos avanços alcançados. Adotamos o entendimento de que a voz lírica nos poemas colasantianos selecionados evidenciam as relações e as tensões que se estabelecem no campo cultural marcado por um sistema de gênero que prioriza o masculino, onde um eu lírico se apresenta pela perspectiva das mulheres. Elegemos, nesse sentido, o corpo como categoria de análise para tratar dos poemas selecionados, a crítica cultural e feminista, sendo essa nossa principal fundamentação teórica, ao discutir o corpo gendrado, e não neutro. Além disso, analisamos como estão postas as representações do corpo e do erotismo do sujeito feminino e a construção de novas identidades culturais em relação ao sexo. Nossa metodologia de pesquisa consiste na discussão de algumas teorias de gênero e autoria feminina, da história do corpo e da literatura erótica, bem como da leitura analítica dos poemas selecionados, que buscam evidenciar o corpo feminino erotizado ou não, reconhecidamente um tema recorrente na poética colasantiana, também apontando a poesia lírica de Colasanti como uma forma de ruptura com a interdição sobre a interlocução erótica e os tabus que rondam os corpos das mulheres. Concluímos que a autora dá voz aos desejos de tantas mulheres, que querem liberdade para seus corpos e também para si mesmas.
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Palhano, Jo?o Maria Paiva. "Coer??o e ruptura estil?sticas na poesia potiguar: a constru??o do ethos inventivo do poeta Jorge Fernandes." Universidade Federal do Rio Grande do Norte, 2011. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16360.
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Previous issue date: 2011-04-01<br>Within the poetic scenario of Rio Grande do Norte the publication of Livro de Poemas
de Jorge Fernandes, in 2007, marks, in the imagery of the Potiguar community of
poetry readers, producers and critics, the beginning of the social circulation of an
inventive ethos associated with the poet Jorge Fernandes de Oliveira (1887-1953).
Regarding the event mentioned earlier as a point of reference, this research
investigates the construction of such ethos based on the counterpoint between the
poet s individual stylistic choices and the stylistic options that prevailed in the lyric
production of the Twenties in the 20th Century. The corpus comprises poetic texts (by
the poet under discussion and by other poets who were, then, regarded as icons of
the poetry of Rio Grande do Norte) and texts representative of local literary criticism
(produced both during the Twenties and in other decades of the last century).
Support to this analysis is grounded in Mikhail Bakhtin s theory of the utterance
(mainly regarding style) and in Dominique Maingueneau s theory of the utterance
(mainly regarding ethos). During the course of this investigation, the research has
outlined an inventory of the prevailing individual stylistic choices of Jorge Fernandes
de Oliveira and the reasons why such choices point out towards the inventive ethos
associated with the poet.<br>No cen?rio po?tico norte-rio-grandense, a publica??o do Livro de Poemas de Jorge
Fernandes, em 1927, assinala, no imagin?rio da comunidade potiguar leitora,
produtora e cr?tica de poesia, o in?cio da circula??o social de um ethos inventivo
vinculado ao poeta Jorge Fernandes de Oliveira (1887-1953). Tomando como
refer?ncia o evento aludido, a pesquisa investiga a constru??o desse ethos a partir
do contraponto entre as escolhas estil?sticas individuais do poeta e as escolhas
estil?sticas dominantes na produ??o l?rica local dos anos 20 do s?culo XX. O corpus
constitui-se de textos po?ticos (tanto do poeta em foco quanto de outros poetas
tidos, ? ?poca, como ?cones da poesia norte-rio-grandense) e de textos
representativos da cr?tica liter?ria local (tanto produzidos nos anos 20 quanto em
outras d?cadas do s?culo passado). A sustenta??o da an?lise ancora-se na teoria
enunciativa de Mikhail Bakhtin (sobretudo no que se refere a estilo) e na teoria
enunciativa de Dominique Maingueneau (sobretudo no que se refere a ethos). Nesse
percurso investigativo, a pesquisa delineia um invent?rio das escolhas estil?sticas
individuais dominantes de Jorge Fernandes de Oliveira e os motivos de essas
escolhas sinalizarem o ethos inventivo associado ao poeta.
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Wiechmann, Natalia Helena [UNESP]. "Tell all the truth but tell it slant: subtexto e subversão na poesia de Emily Dickinson." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/145002.
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Previous issue date: 2016-10-31<br>O objetivo desta tese de doutorado consiste em analisar a poesia de Emily Dickinson (1830-1886) sob a perspectiva da crítica literária feminista estadunidense utilizando o conceito de subtexto literário enquanto recurso poético que revele na obra dickinsoniana diversas formas de subversão de normas sociais e literárias do patriarcado. Para isso, nosso corpus de análise se compõe de dezoito poemas e nosso trabalho está estruturado em quatro seções. A primeira discute algumas questões caras à crítica literária feminista estadunidense, como o conceito de autoria feminina e a tradição literária para, então, teorizar sobre o conceito de subtexto literário relacionando-o à ideia de subversão. Também nessa primeira seção analisamos do poema “Tell all the Truth but tell it slant – ”. Já na segunda parte de nossa tese apresentamos o contexto da produção literária estadunidense no século XIX e discutimos o fato de Emily Dickinson ter se recusado veementemente a publicar seus poemas. Os poemas analisados nessa seção são “Publication – is the Auction”, “Fame of Myself, to justify”, “Fame is the tint that Scholars leave”, “Fame is the one that does not stay” e “Fame is a fickle food”. Na sequência, examinamos o ideal de feminilidade do século XIX e as formas como Dickinson subverte esse ideal nos poemas “To own a Susan of my own”, “Her breast is fit for pearls”, “I gave myself to Him – ”, “She rose to His Requirement – dropt”, “Title divine – is mine!” e “I started Early – Took my Dog – ”. Por fim, analisamos poemas em que Dickinson empreende a subversão da imagem de Deus ao apontar as vulnerabilidades da fé e da condição humana e questionar preceitos religiosos: “I never lost as much but twice”, “It’s easy to invent a Life – ”, “A Shade upon the mind there passes”, “God is indeed a jealous God – ” e “God gave a Loaf to every Bird – ”. Como suporte teórico, recorremos a diversos autores que compõem a fortuna crítica de Emily Dickinson bem como a importantes nomes da crítica literária feminista estadunidense, além de outros autores cujos estudos também dialogam com nossa pesquisa. Alguns dos autores utilizados neste trabalho são Virginia Woolf, Sandra Gilbert e Susan Gubar, Elaine Showalter, Betsy Erkkila, Helen Vendler, Maria Rita Kehl, Susan Howe e Carlos Daghlian.<br>The aim of this dissertation is to analyze the poetry of Emily Dickinson (1830-1886) from the perspective of American feminist literary criticism drawing on the concept of literary subtext as a poetic resource that reveals in Dickinson’s work several ways of subverting the social and literary norms of patriarchy. To these ends, I analyze a corpus of eighteen poems, and the text is organized into four sections. The first section discusses some issues that are important to American feminist literary criticism, such as the concept of female authorship and literary tradition; it is then theorized about the concept of literary subtext and I relate it to the idea of subversion. Also, in this first section, I analyze the poem “Tell all the Truth but tell it slant – .” In the second part of this work, the context of American literary production in the nineteenth-century is presented and the fact that Emily Dickinson emphatically refused to have her poems published is considered. The poems analyzed in this section are “Publication – is the Auction”. “Fame of Myself, to justify”, “Fame is the tint that Scholars leave”, “Fame is the one that does not stay” and “Fame is a fickle food”. After the discussion of the poems, in the third section I examine the ideal of womanhood in the nineteenth century and the ways Dickinson subverts this ideal in the poems “To own a Susan of my own”, “Her breast is fit for pearls”, “I gave myself to Him – ”, “She rose to His Requirement – dropt”, “Title divine – is mine!” and “I started Early – Took my Dog – ”. Finally, in the closing section I study some poems in which Dickinson undertakes the subversion of God’s image, points out the vulnerabilities of faith and human condition, and questions religious precepts: “I never lost as much but twice”, “It’s easy to invent a Life – ”, “A Shade upon the mind there passes”, “God is indeed a jealous God – ” and “God gave a Loaf to every Bird – ”. To provide theoretical underpinning, several critics who have written on Dickinson’s work were consulted and significant names in American literary feminist criticism are also discussed, as well as other authors whose studies intersect with our research as well. Included among the writers, critics and researchers mentioned in our work are Virginia Woolf, Sandra Gilbert and Susan Gubar, Elaine Showalter, Betsy Erkkila, Helen Vendler, Maria Rita Kehl, Susan Howe, and Carlos Daghlian.
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Farias, Genilson de Azevedo. "Auta de Souza, a poeta de pele clara, um moreno doce : mem?ria e cultura da intelectualidade afrodescendente no Rio Grande do Norte." Universidade Federal do Rio Grande do Norte, 2013. http://repositorio.ufrn.br:8080/jspui/handle/123456789/13689.
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Previous issue date: 2013-03-26<br>Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior<br>In the first half of the twentieth century different groups of intellectuals were engaged in the pursuit of an ideal of Brazility. Thereon, two currents are perceived. The first was marked by a nostalgic bias about the past, being formulated by intellectuals from the region that was turning as Northeast. This group of intellectuals emphasized values and traditions of the agrarian aristocracy of the region that was losing visibility in the political and economic Brazil scene. Already the other current has a more modern and industrial feature, was formed by intellectuals from the Southeast that in detriment of the first, was rising. This group, on the other hand, was intended to give a new face to Brazil and break with the "roots" of our delay that in their view were linked to our agrarian past. This resulted in different perceptions and interpretations of our historical past, and the construction of different profiles to the Brazilian. Accordingly, our work seeks to understand how was produced the writing that silenced the mixed ancestry of Auta de Souza (1876-1901) considering the position that she should occupy in the intellectuals projects who were in charge of forming a memory for our state. Auta as a relevant historical character in this project of potiguares intellectuals, she was raised to the condition of a model woman and elected in the pantheon of the most beloved poets of Rio Grande do Norte, however, to occupy such prestigious position she had her racial ancestry concealed in the writings that these same intellectuals had written about her, what is still spreaded in memory and rituals places of religious and civic features<br>Na primeira metade do s?culo XX diferentes grupos de intelectuais estiveram engajados na busca de um ideal de brasilidade. Nisso, duas correntes s?o percebidas. A primeira foi marcada por um vi?s saudosista em rela??o ao passado, sendo formulada pelos intelectuais da regi?o que ent?o gestava-se como Nordeste. Esse grupo de intelectuais ressaltava valores e tradi??es da aristocracia agr?ria da regi?o que perdia visibilidade no cen?rio pol?tico e econ?mico do Brasil. J? a outra corrente, de car?ter mais moderno e industrial, foi formada pelos intelectuais da regi?o Sudeste que em detrimento da primeira, estava em ascens?o. Este grupo por sua vez, objetivava dar um novo rosto ao Brasil bem como romper com as ra?zes do nosso atraso que na vis?o deles estavam ligadas ao nosso passado agr?rio. Isso resultou em diferentes percep??es e interpreta??es sobre nosso passado hist?rico, e na constru??o de diferentes perfis para o brasileiro. Nesse sentido, nosso trabalho busca entender como se produziu uma escrita que silenciava a ancestralidade mesti?a de Auta de Souza (1876-1901) haja vista a posi??o que ela deveria ocupar dentro do projeto dos intelectuais que ficaram a cargo da forma??o de uma mem?ria para o nosso estado. Auta enquanto personagem hist?rica relevante nesse projeto dos intelectuais potiguares foi al?ada ? condi??o de mulher modelo e elegida no pante?o das poetas mais amadas do Rio Grande do Norte, todavia, para que pudesse ocupar tal posi??o teve sua ancestralidade racial escamoteada nos escritos que esses mesmos intelectuais fizeram sobre ela, o que, por sua vez, se estendeu em lugares de mem?ria e em rituais de car?ter religioso e c?vico
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Sampaio, Carlos Augusto de Paiva. "Caracterização dos ambientes termico, aereo e acustico em sistemas de produção de suinos, nas fases de creche e terminação." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/257238.
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Orientador: Irenilza de Alencar Naas<br>Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Engenharia Agricola<br>Made available in DSpace on 2018-08-04T02:45:00Z (GMT). No. of bitstreams: 1
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Previous issue date: 2004<br>Resumo: Emissão e concentração de aerossóis, gases e vapores provenientes do confinamento de animais causam danos à atmosfera, ao ambiente, ao homem e aos animais e às estruturas das instalações. Os contaminantes aéreos possuem efeito negativo sobre a saúde e produtividade dos animais e dos trabalhadores, que expostos a tais substâncias podem desenvolver problemas como irritação do sistema respiratório, pneumonite de hipersensibilidade, bronquite crônica, inflamações das vias aéreas, infecções respiratórias, asma ocupacional, febre e irritação nos olhos, dentre outros. Informações sobre ruídos, gases e poeira e seus efeitos no bem-estar do animal e do trabalhador em sistemas de produção de suínos para as condições brasileiras são escassas, pois estes estudos em sua grande maioria, são relacionados a países de clima temperado, onde as construções são completamente fechadas e o resultado final do ambiente difere das condições brasileiras, além do fator clima e manejo a ser considerado. Este trabalho possui os seguintes objetivos: avaliar o conforto térmico; a concentração de amônia (NH3), sulfeto de hidrogênio (H2S), metano (CH4), monóxido de carbono (CO), oxigênio (O2) e poeira; o ruído e estimar os riscos de exposição ocupacional a estes agentes ambientais. O estudo foi realizado em três granjas de ciclo completo de produção: Granja 1 (creche e terminação, ambos de piso compacto) e Granja 2 (creche de piso semi-ripado e terminação de piso compacto com lâmina d'água), durante o verão e inverno de 2003; Granja 3 (creche de salas com piso semi-ripado e gaiolas), durante o verão de 2002. Nestas instalações, era usada somente a ventilação natural para fins térmicos e higiênicos. Verificou-se que as concentrações médias de H2S e CO ficaram abaixo de 1 ppm e inferiores a 0,1% de CH4 em volume no ar, não ultrapassando os limites recomendados pela CIGR (1994) aos animais e aos limites recomendados pelas NR-15 (1978) e ACGIH (2001) para o trabalhador. A concentração de O2 ficou em média 21%. Com relação ao NH3, foram observadas diferenças (P < 0,05) nas concentrações médias em relação aos horários de alimentação dos animais, às tipologias das instalações e aos períodos avaliados. As análises dos dados revelam a necessidade de se melhorar a qualidade do ar, dando ênfase principalmente aos horários mais quentes e às condições de inverno, já que basicamente o NH3 encontra-se em concentração mais alta em relação à recomendada em diversos estudos. A concentração de poeira foi muito variável, sendo que a concentração de poeira total foi mais alta na creche (0,84 - 9,16 mg.m-3) do que na terminação (0,84 - 3,34 mg.m-3) e a concentração de poeira respirável foi mais alta nas unidades de creche, porém inferior a 3,67 mg.m-3, não apresentando riscos à saúde. As concentrações dessas substâncias (gases e poeira) foram inferiores àquelas verificadas em instalações fechadas. O ruído contínuo e de impacto se manteve nos limites recomendados pelas NR-15 (1978) e ACGIH (2001), podendo-se considerar o ambiente salubre. Entretanto, considerando o ruído de pico observado nos horários de alimentação e vacinação principalmente nas instalações para terminação, recomenda-se o uso de equipamento de proteção auricular. Na Granja 3, notou-se que o ruído contínuo e de pico na sala de creche com gaiolas foi superior ao ruído na sala de piso semi-ripado, o que pode estar relacionado a um maior bem-estar dos animais criados no piso semi-ripado. Verificou-se também a tendência do ruído de se acompanhar as condições de conforto térmico das instalações<br>Abstract: Emissions and concentrations from livestock buildings must be identified and analyzed with regard potential detrimental or hazardous effects on the atmosphere, man, animals, buildings and environment. Substantial evidence shows that some gases and particulates have a negative effect on health and productivity of animals. Labor in livestock buildings are exposed to a complex mixture of aerial contaminants and some can develop respiratory problems including irritation and inflammation of the respiratory tract, hypersensibility pneumonitits, chronic bronchitis, respiratory infections, occupational asthma and toxin fever and irritation of the eyes. Information about noise, dust and gases concentrations and the effects on animal¿s welfare and the workers in swine systems confinements production are rare in tropical regions. The majorities of the information addresses regions where the livestock buildings are total enclosed and the conditions of climate and manage are different too. This study was carried out during summer and winter of 2002/2003 and the objectives were: to evaluate the noise environment, air quality (NH3, H2S, CH4, CO, O2 and dust concentrations), the environment thermic, and estimate the occupational risk exposition the workers at three commercial swine production facilities: Housing 1 - growing and finishing with full slatted floors, Housing 2 - growing with partially slotted floor (40% of the pen area) and finishing of full slatted floors with thing layer of water in behind to the stalls and Housing 3 - growing with suspend cages and semi-slotted floor rooms of breeding. In the housings was used natural ventilation for thermal and hygiene environment control. The respective concentrations of H2S, CO, O2 and CH4 were less than 1 ppm, less than 1 ppm, 21.0% and less than 0.1% by volume. The concentrations of substances during these measurements are not dangerous of the animals and the workers as according to CIGR (1994), NR-15 (1978) and ACGIH (2001). The average concentration of NH3 presented significant difference (P < 0.05) with regard to feeding schedule, typology and periods available. The analyses of ammonia showed that some schedule mainly during winter are necessary attention especial because these concentrations were higher than most recommended by several studies. Total dust concentrations were the lowest for finishing units (0.84 - 3.34 mg.m-3) and the highest for growing units (0.84 - 9.16 mg.m-3). The respirable dust concentrations were highest than for growing units, and less than 3.67 mg.m-3. These concentrations were less than the limits recommended of the workers. The airborne concentrations of substances measured in the present study were all lower than most of published studies conducted in mainly enclosed swine buildings. The noise level (continuous and impact) were less than recommended by norms (NR-15 and ACGIH), however the peak noise level observed during feed alimentation and other task schedule mainly finishing swine housing recommended ear protection. In Housing 3 observed that noise continuous and peak in the room with suspend cages were highest than semi-slotted floor. These measurements indicated higher welfare the animals in the semi-slotted floor breeding. There was also tendency to increase the noise as thermal comfort environment conditions decreases<br>Doutorado<br>Construções Rurais e Ambiencia<br>Doutor em Engenharia Agrícola
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Conforti, Marielle. "Le subjonctif en français préclassique : étude morphosyntaxique, (1539-1637)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040114/document.
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Ce travail vise à déterminer s’il existe ou non une norme du subjonctif en français préclassique, et dans l’affirmative de la décrire et de la saisir. D’un point de vue morphologique, on constate que le français préclassique simplifie les paradigmes du subjonctif par un effet d’analogie, alors que l’ancien français avait tendance à les différencier nettement de l’indicatif. Nous noterons de plus l’importance du yod « désactualisant » qui se généralise aux première et seconde personnes du pluriel, devenant le marqueur privilégié de l’indétermination. La syntaxe du subjonctif de cette période se caractérise par une exceptionnelle liberté, la seule règle suivie par le locuteur étant d’utiliser le subjonctif lorsque l’énoncé appartient au « monde des possibles » et l’indicatif lorsqu’il entre dans le « monde du probable » (terminologie empruntée à Robert Martin). Aussi, tout au long de la période préclassique le système modal ne connaît aucune servitude grammaticale, n’obéissant à aucune règle mécanique mais seulement à des tendances et à une concordance d’ordre cinétique et modal. Malgré cette autonomie, le subjonctif est souvent écarté au bénéfice de l’indicatif, auquel nous incluons la forme en –rais, quand le discours ne traduit aucun effet stylistique ou rhétorique, car l’indicatif indique précisément le temps sur la chronogénèse. En revanche l’image temporelle du subjonctif est incomplète et insécable, « amorphe » et « in fieri » (terminologie de Gustave Guillaume). Pourtant, malgré cette inhérente imprécision temporelle, le subjonctif demeure irremplaçable en français préclassique pour son extraordinaire poésie<br>The purpose of this work is to determinate whether or not a method of subjunctive mode existed in Preclassic French, and in the affirmative, to describe and to explain it. From a morphological point of view, we notice Preclassic French was the age of simplification and analogy, while medieval system was marked, on the contrary, by a tendency to differentiate the subjunctive’s forms in a characteristic way. Besides, the presence of the yod at first and second plural persons becomes widespread, expressing in a better way the indetermination and “desactualisation” compared to the medieval system devoid of the yod. Regarding the syntax of the subjunctive mode during this period, it is characterized by an incredible freedom: the only rule actually followed by the speaker consisted, in case of doubt, in using the subjunctive tense, the “world of the possible”, in opposition to the “world of the likely” which is specific to the indicative mode, both concepts belonging to Robert Martin’s terminology. All along the aforesaid historical period, it is particularly interesting to see to what extent the modal system remains free from restrictive grammatical regulations. Indeed, the subjunctive mode doesn’t obey mechanical rules, except some tendencies. It only obeys kinetic and modal concordances. Despite its autonomy, subjunctive mode was nevertheless frequently ruled out to the benefit of indicative mode, including the “forme en –rais”, especially when authors showed no interest in stylistic or rhetorical effects. In a matter of fact, while indicative mode gives a precise indication of the time, mental representation of the verb within the subjunctive has the distinctive characteristic to be incomplete and indivisible as well, qualified as “amorphe” and “in fieri” according to Guillaume’s terminology. However, despite its inherent temporal imprecision, writers of that time widely used the subjunctive mode, judged exceptionally poetic and therefore irreplaceable
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Miragliotta, Miwa Yamamoto. "Avaliação das condições do ambiente interno em dois galpões de produção comercial de frangos de corte, com ventilação e densidade populacional diferenciados." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/257220.
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Orientadores: Irenilza de Alencar Naas, Marta dos Santos Baracho<br>Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Engenharia Agricola<br>Made available in DSpace on 2018-08-05T08:27:37Z (GMT). No. of bitstreams: 1
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Previous issue date: 2005<br>Resumo: O objetivo principal deste estudo foi à avaliação das condições do ambiente interno em dois galpões de produção comercial de frangos de corte, com ventilação e densidade populacional diferenciados: galpão convencional (G1), com densidade de 13 aves/m² e ventilação natural associada à mecanizada na fase final de produção, e galpão em alta densidade (G2), com 18 aves/m² e ventilação tipo túnel negativa na mesma fase. Os galpões situados no município de Rio Claro/ SP, foram comparados sob os parâmetros de qualidade do ar (concentração de gases e poeira no ar), condições bioclimáticas internas, níveis de pressão sonora e índices produtivos finais, para indicação da alta densidade populacional, como manejo de produção de frangos de corte em condições tropicais. Concluiu-se que as concentrações de poeira e gases (explosivos, óxido nítrico e gás carbônico) no ar, e os níveis de pressão sonora estiveram abaixo dos limites máximos recomendados internacionalmente. Apesar das concentrações dos gases amônia e monóxido de carbono terem sido superiores no galpão G2, não foram observadas diferenças significativas nos índices produtivos finais. O galpão em alta densidade populacional produziu 9kg frangos/m² ou 13t frangos/lote a mais, recomendando-se a utilização deste manejo em condições tropicais de produção<br>Abstract: The main objective of this study was the evaluation of environmental conditions inside two commercial broiler production housings with distinct ventilation and stocking density: conventional housing (G1) with 13 birds/m² and a combination of natural and mechanical ventilation for the growing period, and high density housing (G2) with 18 birds/m² and negative tunnel type ventilation for the same period. The houses located at Rio Claro/SP have been compared under parameters of air quality (gases and dust concentrations in the air), bioclimatic conditions, noise levels and production indexes, to the indication of high density for broiler production under tropical conditions. It was concluded that dust and gases concentrations (explosive, nitric oxide and carbon dioxide) in the air and noise level have been in agreement of maximum limits of international recommendations. Despite higher ammonia and carbon monoxide concentrations in the air of house G2, it was not observed significantly differences between final production indexes. High density housing has produced 9kg bird/m² or 13t birds/flock more than the other, which recommends its use under tropical conditions<br>Doutorado<br>Construções Rurais e Ambiencia<br>Doutor em Engenharia Agrícola
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Oliveira, Alex Leal de. "Condições de segurança do trabalho em unidades de beneficiamento de sementes de soja." Universidade Federal de Pelotas, 2013. http://repositorio.ufpel.edu.br/handle/ri/1414.
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Previous issue date: 2013-09-27<br>The preparation of human resources is the main challenge to the implementation of security system, so the managers of the Seed Conditioning Plants, as well as hand-to-work training in the universities should be properly sensitized on the subject. The objective of this study was to compound a diagnosis
of the conditions of work safety in the conditioning of soybean seeds in the state of Rio Grande do Sul. Firstly, it was done a survey on the perception of safety in Seed Conditioning Plants among the professionals who are in training and managers. The profile of the seed plants studied, about job security, shows that 64% have between 1 and 50 employees, 71% have between 1 and 10 machines circulating within the units and 35% have between 5 and 10 silos. Regarding accidents, 36 % of all interviewed units, confirmed the existence of occupational accidents in the last three years. About official inspection, 64% said they have been inspected by the Ministry of Labor and Employment, at least once. There is a concern about the existence of CIPA, which are active in 59 % of the
establishments surveyed. The study indicates that superior hand-labor is not enough trained on the subject of health and safety. For the second stage of the research, four soybean seed conditioning plants at Rio Grande do Sul were evaluated in situ, considering every particular constructive, machinery and equipment and technological level. The field evaluations cover measurements of noise, brightness and qualitative and quantitative assessment of airborne dust. None of the surveyed units is in full accordance with the law, for the parameters investigated and the high noise level was the main physical agent of quality of the work environment at the plants surveyed. As for the lighting conditions of the seed
plants all are overly dark, compromising worker safety. Regarding the suspended dust is possible to say that the risk is present, but the lack of official reference to vegetable dusts arising from the conditioning of soybeans complicates the
interpretation of results and the establishment of safe levels for this operation.<br>A preparação dos recursos humanos é o principal desafio para
implantar programas de segurança, portanto os gestores das Unidades de Beneficiamento de Sementes (UBS), bem como a mão-de-obra em formação nas universidades, devem estar devidamente sensibilizados sobre o tema. O presente
trabalho teve como objetivo a formação de um diagnóstico das condições de segurança do trabalho no beneficiamento de sementes de soja no estado do Rio Grande do Sul. Primeiramente, foi feito um levantamento sobre a percepção da segurança em Unidades de Beneficiamento de Sementes (UBS) entre os profissionais que estão em capacitação e entre os gestores das UBS. O perfil das UBS pesquisadas, quanto a segurança do trabalho, mostra que 64% das UBS tem entre 1 e 50 empregados, 71% possuem entre 1 e 10 máquinas circulando no interior da UBS e 35% tem entre 5 e 10 silos armazenadores. Em relação aos acidentes, 36% da totalidade das UBS entrevistadas, confirmaram a existência de
acidentes do trabalho nos últimos três anos. Sobre a inspeção oficial, 64% afirmaram que já foram fiscalizadas pelo Ministério do Trabalho e Emprego, pelo menos uma vez e em relação à existência das CIPA, estão ativas em 59% dos
estabelecimentos entrevistados. A mão-de-obra de nível superior em formação para o setor sementeiro não está suficientemente treinada quanto ao tema de saúde e segurança do trabalho em UBS. Na segunda etapa foi conduzido o estudo em quatro UBS localizadas no estado do Rio Grande do Sul, que foram avaliadas in loco, considerando cada particularidade construtiva, de máquinas e equipamentos e nível tecnológico. As avaliações de campo compreenderam
aferições de ruído, iluminância e avaliação qualitativa e quantitativa da poeira em suspensão. Nenhuma das UBS pesquisadas está em pleno acordo com a legislação vigente, para os parâmetros investigados, sendo o elevado nível de
ruído, o agente físico de maior comprometimento da qualidade do ambiente de trabalho em UBS pesquisadas. Quanto às condições de iluminação das UBS, observa-se que são excessivamente escuras, comprometendo a segurança do
trabalhador. Em relação à poeira em suspensão é possível afirmar que o risco está presente, mas a falta de referência oficial para poeiras vegetais originadas do beneficiamento de soja dificulta a interpretação dos resultados e o
estabelecimento de níveis seguros para a referida operação.
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Chang, Jonathan. "Neither Here Nor There, But Altogether Elsewhere : A Brief Study of Distance." Thesis, Konstfack, Grafisk design & illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6942.
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Knowing is often framed by language; this moving arrangement of parts helps us make sense of our surround, rendering possible ways of relating, acting, and responding. Situated yet unsettled, the play of language enables us to mediate distances, to make sense of our frames while seeking other ways of being with and for. Through dialogue, these works attempt to reroute and reorient so that we may learn to see each other — and to see ourselves.
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Grove, Jonathan. "The contest of verse-making in Old Norse-Icelandic skaldic poetry." 2007. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=510528&T=F.
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Sroka, Nitalu. "The syllable-evidence from Icelandic skaldic poetry." Thesis, 1990. http://hdl.handle.net/10125/9935.
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Simms, Douglas Peter Allen. "Reconstructing an oral tradition problems in the comparative metrical analysis of Old English, Old Saxon and Old Norse alliterative verse /." Thesis, 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3116396.
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Wanner, Kevin J. "The distinguished norseman : Snorri Sturluson, the Edda, and the conversion of capital in medieval Scandinavia /." 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3097170.
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Michalíková, Jana. "Náboženství a humor: Komické vrstvy ve staroseverských náboženských textech a jejich vztah k oficiálnímu náboženství." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-332239.
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This paper focuses on the comic layers in Eddic mythological poetry, namely in Lokasenna, Hárbarðsljóð and Ϸrymskviða, and on their relation to the Old Norse religion. In the past, these comic and seemingly blasphemic poems used to be interpreted as a display of criticism of the religious system or, due to the impossibility to date their origin, as a product of late decadent paganism or even as a Christian satire of this religion. This paper shows that such interpretations are not necessary, and that the comic Eddic poems could have existed as a functional part of the Old Norse religion. It points out the affinity of the categories of religious humour and chaos. Subsequently, it presents various theories, mostly from the field of anthropology of religion, which show that a temporarily confrontation of order with chaos can be a desirable practise for a religion, and that humour can serve as a suitable means to achieve such a confrontation. The second part of the paper focuses on the particular Eddic poems. It analyses in detail their comic layers, and examines the possibilities of their function within the Old Norse religion on the background of the notion of piety and blasphemy in their time. It demonstrates their link to the tradition of ritualized verbal duels and other socio-cultural phenomena,...
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Kaczor, Sarah. "The Ovidian Soundscape: the Poetics of Noise in the Metamorphoses." Thesis, 2019. https://doi.org/10.7916/d8-d4sm-q274.
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This dissertation aims to study the variety of sounds described in Ovid’s Metamorphoses and to identify an aesthetic of noise in the poem, a soundscape which contributes to the work’s thematic undertones. The two entities which shape an understanding of the poem’s conception of noise are Chaos, the conglomerate of mobile, conflicting elements with which the poem begins, and the personified Fama, whose domus is seen to contain a chaotic cosmos of words rather than elements. Within the loose frame provided by Chaos and Fama, the varied categories of noise in the Metamorphoses’ world, from nature sounds to speech, are seen to share qualities of changeability, mobility, and conflict, qualities which align them with the overall themes of flux and metamorphosis in the poem. I discuss three categories of Ovidian sound: in the first chapter, cosmological and elemental sound; in the second chapter, nature noises with an emphasis on the vocality of reeds and the role of echoes; and in the third chapter I treat human and divine speech and narrative, and the role of rumor. By the end of the poem, Ovid leaves us with a chaos of words as well as of forms, which bears important implications for his treatment of contemporary Augustanism as well as his belief in his own poetic fame.
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Kozák, Jan. "Oběť a iniciace v mýtech o Ódinovi." Doctoral thesis, 2015. http://www.nusl.cz/ntk/nusl-350049.
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This dissertation deals with the interpretation of four myths from early medieval Scandinavia, in which the main role is played by the god Óðinn. All four myths narrate how he achieved a state of permanent increase of his numinous knowledge. Based on the fact that the outcome of all of the narratives is the acquisition of the Mead of Poetry (or its equivalent), they can be percieved as "four reports on the same event". The analysis of myths itself has been executed in two steps: firstly the separate inquiry of the two more central myths and introduction of the other two followed by thorough analysis of the four together. All four myths demonstrate to a certain degree a presence of motifs and structures associated with the religious phenomena of sacrifice and initiation. By the means of said analysis the study reviews the systematic relations of the sacrificial and initiatory structures and postulates a common core which is subsequently named "monomyth".
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Baer, Patricia Ann. "An Old Norse Image Hoard: From the Analog Past to the Digital Present." Thesis, 2013. http://hdl.handle.net/1828/4582.
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My Interdisciplinary dissertation examines illustrations in manuscripts and early print sources and reveals their participation in the transmission and reception of Old Norse mythology. My approach encompasses Material Philology and Media Specific Analysis. The reception history of illustrations of Old Norse Mythology affects our understanding of related Interdisciplinary fields such as Book History, Visual Studies, Literary Studies and Cultural Studies.
Part One of my dissertation begins with a discussion of the tradition of Old Norse oral poetry in pagan Scandinavia and the highly visual nature of the poems. The oral tradition died out in Scandinavia but survived in Iceland and was preserved in vernacular manuscripts in the thirteenth century. The discovery of these manuscripts in the seventeenth century initiated a cycle of illustration that largely occurred outside of Iceland. Part One concludes with an analytical survey of illustrations of Old Norse mythology in print sources from 1554 to 1915 revealing important patterns of transmission.
Part Two traces the technological history of production of digital editions and manuscript facsimiles back to the seventeenth century when manuscripts were hand-copied and published by means of copperplate engravings. Part Two also discusses the scholarly and cultural prejudices towards images that are only now slowly fading. Part Two concludes with a description of my prototype for a digital image repository named MyNDIR (My Norse Digital Image Repository). MyNDIR will facilitate the emergence of images of Old Norse Studies from the current informal crowd sourcing of material on the web to a digital image repository supporting the dissemination of accurate scholarly knowledge in a widely accessible form.
Part Three presents two thematic case studies that demonstrate the value of applying the skills of visual literacy to illustrations of Old Norse mythology. The first study examines Jakob Sigurðsson’s illustrations of Norse gods in hand-copied paper manuscripts from eighteenth-century Iceland. The second study examines illustrations by prominent Norwegian artists in the editions of Snorre Sturlason: Kongesagaer published in 1899 and 1900 respectively. What emerged from these studies is an understanding that illustrations offer insights for the study of Old Norse texts that the words of the texts alone cannot provide.<br>Graduate<br>0362<br>0377<br>0279<br>pabaer@uvic.ca
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MacEachern, Jessica N. "Noisy and haptic interventions in the feminist codex : daring refusals by H. D., Lisa Robertson, Rachel Zolf, and Erín Moure." Thèse, 2018. http://hdl.handle.net/1866/21711.
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Post, Andy. "Political Atheism vs. The Divine Right of Kings: Understanding 'The Fairy of the Lake' (1801)." 2014. http://hdl.handle.net/10222/50412.
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In 'Political Atheism vs. The Divine Right of Kings,' I build on Thompson and Scrivener’s work analysing John Thelwall’s play 'The Fairy of the Lake' as a political allegory, arguing all religious symbolism in 'FL' to advance the traditionally Revolutionary thesis that “the King is not a God.”
My first chapter contextualises Thelwall’s revival of 17th century radicalism during the French Revolution and its failure. My second chapter examines how Thelwall’s use of fire as a symbol discrediting the Saxons’ pagan notion of divine monarchy, also emphasises the idolatrous apotheosis of King Arthur. My third chapter deconstructs the Fairy of the Lake’s water and characterisation, and concludes her sole purpose to be to justify a Revolution beyond moral reproach. My fourth chapter traces how beer satirises Communion wine, among both pagans and Christians, in order to undermine any religion that could reinforce either divinity or the Divine Right of Kings.<br>A close reading of an all-but-forgotten Arthurian play as an allegory against the Divine Right of Kings.