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Brunner, Kathleen. "Picasso rewriting Picasso : poetry and plays, 1935-1959." Thesis, Courtauld Institute of Art (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268056.
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Bianchi, Petra. "'Hidden strength' : the poetry and plays of Augusta Webster." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313138.
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Willi, Andreas. "The language of Aristophanes : aspects of linguistic variation in classical Attic Greek." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365461.
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Smith, Sarah Siobhan. "Sidney Arthur Kilworth Keyes 1922-1943 : poetry, prose and plays : a re-evaluation." Thesis, University of Greenwich, 2000. http://gala.gre.ac.uk/8689/.
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Boyle, Eloise M. "The drama of Majakovskij : a study of the plays and dramatic elements in the poetry of Vladimir Majakovskij /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487586889188465.
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Chiasson, Basil Alexander Eugene. "Harold Pinter and the performance of power : considerations of affect in select plays, screenplays and films, poetry and political speeches." Thesis, University of Leeds, 2010. http://etheses.whiterose.ac.uk/4620/.
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This thesis looks at selections of Harold Pinter's work across multiple media: written dramatic texts, screenplays and poetry, activity in theatrical and film production and his political activism. It has been argued that Pinter's dramatic medium is exceeded by movements, intensities and forces that operate on and circulate within the corporeal bodies of Pinter's 'audiences'. However, approaches to Pinter to date remain overly focused on representation and hermeneutics and tied to a decidedly idealist conception of being, perception and knowledge. I argue that in order to appreciate the politics of Pinter's aesthetics, readings of Pinter's work need to move in a more decidedly materialist direction. To do so, I enlist the conceptual tools of Gilles Deleuze and felix Guattari, specifically 'affect'. In bringing affect theory to Pinter I illustrate how 'the direct, mutual involvement of language and extra-linguistic forces,1 must be taken into account at every critical step, and that meaning need be construed as a material process, the expression of forces acting upon each other. The diversity of Pinter's work is explored over six chapters with a view to its aesthetic disposition and function, how it enters into noteworthy relations with those who engage with it, and how it establishes conditions that are propitious for transitory but ultimately productive trans formative encounters. Proceeding as such necessitates appraisal of ethical and political positions in relation to Pinter's expression without distinguishing politics from aesthetics - a trend common to intellectual enterprise. Rather, the three keywords in the title of this thesis - performance, power and affect - function as concepts to advance the argument for Pinter's aesthetics as a politics. In considering the aesthetics of Pinter's work in varied media, this thesis invites the reader to see the strategies by which Pinter intervenes in each area as interrelated and political.
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Baker, J. "Thomas D'Urfey : the life and work of a restoration playwright." Thesis, University of Birmingham, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368786.
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This thesis is a study of the life and works of Thomas D'Urfey (1653- 1721), a prolific writer of -plays, poetry and operas during the Restoration period. It places him in the context of the theatre of his time and the difficult conditions in which he worked, showing how obscurity of birth and lack of education affected him in his burning desire for success and financial reward. His relationships with great men illustrate the role of the patron in Augustan society, and his long career in the theatre illuminates the principal developments in English drama between 1676 and 1710. The Introduction provides a brief critical survey of the current state of Restoration comedy criticism and of D'Urfey's place in that criticism. Chapters One and Three are primarily biographical; Chapters Two, Four and Five study his plays; Chapter Six takes a broader view of his non-dramatic writing, and Chapter Seven examines his last three comedies and discusses them as precursors of the novel. The final section of Chapter Seven makes some comparisons between Thomas D'Urfey and other dramatists of the period, especially John Dryden, and argues that there is a special interest in the struggle for recognition of an author generally regarded as a failure. The Conclusion summarises the arguments in the thesis for this re-assessment of D'Urfey's interest and importance. Throughout the thesis D'Urfey's work is shown to have many rewards for the modern reader.
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Sofronidou, Foteini. "Les traductions grecques de la littérature française : contribution à l’inventaire et à l’étude de leur présence dans les lettres grecques de 1900 à 2010." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30049.
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Cette étude a pour champ l'inventaire des traductions d'œuvres de la littérature française vers le grec, et l'étude de leur présence dans les lettres grecques du début du XXe siècle à l'aube du XXIe siècle.Le constat, en premier lieu, que les traductions jouent un rôle primordial pour la réception en Grèce de la littérature en question et, en deuxième lieu, que leur inventaire sur la période considérée n'était pour l'instant que fragmentaire, nous a conduit à définir comme but de notre recherche le recensement exhaustif des œuvres françaises traduites et publiées en Grèce entre 1900 et 2010 et qui figurent dans les catégories de la prose, la poésie, le théâtre.Le traitement quantitatif et qualitatif de paramètres comme l'année d'édition, l'auteur traduit, l'œuvre traduite, le/la traducteur/-rice, la maison d'édition, ainsi que leur analyse conclusive qui sert de tentative d'interprétation, nous ont permis de dresser un panorama global de l'image de la littérature française traduite dans la langue grecqueThis study covers the Greek translations of French literature and their presence in the Greek literary world during the entire twentieth century and at the dawn of the twenty-first. The finding that translations play a crucial role in the absorption of this literature in Greece, and that, to date, their recording within the examined period is fragmented, set a research goal for the fullest possible, accurate and documented recording of any Greek translations of works of French literature (prose - plays - poetry), published in our country in the period from 1900 to 2010.The quantitative and qualitative processing of certain parameters, such as the year of publication of a translation, the translated author, the translator, the translated work and the publisher, as well as the relevant conclusions, intend to contribute to the presentation and overview of the overall image of this translation sector
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Thiers, Bettina. "Poétiques expérimentales et engagement : Poésie concrète, visuelle, sonore et pièces radiophoniques expérimentales dans l'espace germanophone de 1945 à 1970." Thesis, Tours, 2014. http://www.theses.fr/2014TOUR2018.
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Les poésies concrète, visuelle, sonore, apparues au début des années 1950 dans une vingtaine de pays du monde, dont l’Allemagne, la Suisse et l’Autriche, et les pièces radiophoniques expérimentales ont, jusqu’à présent, été perçues comme jeux formels avec le matériau verbal épargnant à leurs auteurs une prise de position politique par rapport au réel. Face à la réception réductrice du concept sartrien de « littérature engagée », les poétiques expérimentales apparaissent comme « désengagées ». Or, les auteurs invoquent la portée politique de leur déconstruction de poétiques traditionnelles, de normes linguistiques et de modes de pensée de la culture occidentale. Les formes d’écriture expérimentale ne seraient-elles pas alors des choix politiques au sens où elles ébranlent des visions et expériences du monde? Cette mise à distance du réel provoquerait ce que Rancière appelle la « subjectivation politique », c'est-à-dire l’émancipation du citoyen par rapport à son identité sociale figée par des manières de dire et de penser. Montrant l’intention politique immanente à certains choix poétiques cette étude aborde la notion d’engagement sous un angle poétologiqueConcrete, visual and sound poetry, as well as experimental radio plays, appearing in the early 1950s in Germany, Switzerland and Austria specifically, have until now been perceived as formal games with language, sparing their authors from taking any political position with regards to reality. Given this narrow understanding of the sartrian concept of “engaged literature”, experimental poetry hence appeared as “disengaged.” And yet, authors insist on the deconstruction of traditional poetry, of linguistic norms and of the Occidental vision of culture. As a consequence, shouldn’t we also understand experimental literary forms as political in the sense that they shatter our traditional vision and experience of the world? The distance taken from reality leads to what Rancière calls “political subjectivity”, by which he means the emancipation of the individual from a fixed social identity through news ways of saying and thinking. Analyzing the political intention inherent to specific poetical choices, this study offers a poetic approach of literary political engagement
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Belzil, Diane. ""Merely going round": engaging with poetic thought through play in Wallace Steven's poetry." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121556.
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The following thesis examines the importance of play in Wallace Stevens's poetry and how it reveals a structural isometry between Stevens's poetics and the philosophical ethics of Immanuel Kant, Hans-Georg Gadamer, and Emmanuel Levinas. This comparison demonstrates that Stevens is not concerned with writing toward the philosophical concepts of 'good' or 'truth,' but rather with determining the ontological condition of poetic thought, which he does by writing poetry that reaches toward the guiding fiction of his age, the Supreme Fiction. This study is conducted in three stages, each aiming to demonstrate the importance of change, abstraction, and pleasure (the three key terms in Stevens's Notes Toward a Supreme Fiction) in determining how Stevensian play operates. The first chapter identifies a turning topos operating throughout Stevens's career in which poems are abstracted from extrapoetic reality by locating them in a separate space of thought, a play space. The second chapter looks more closely at this play space and the metaphors of dwelling, seasons, and climate that Stevens uses to describe it, arguing that the seasons' relationship to climate and climate's relationship to the Supreme Fiction finds a structural correlative in the ethical theories of Kant and Levinas. Much as Kant and Levinas's theories require a metaphysical grounding, Stevens's poetry is grounded by locating itself in a separate realm, poetic thought. The third chapter makes a diachronic study of Stevens's considerations of poetic thought as a separate realm, making particular use of Jacques Rancière's critique of ethics to demonstrate that Stevens's poetry is able to avoid the ethical turn through its own poetic turn.La thèse suivante examine l'importance du jeu dans la poésie de Wallace Stevens et comment il révèle une isométrie structurelle entre sa poétique et l'éthique philosophique d'Immanuel Kant, Hans-Georg Gadamer, et Emmanuel Levinas. Cette comparaison démontre que Stevens n'est pas concernée par les concepts philosophique «le bien» ou «la vérité», mais essai plutôt de déterminer la condition ontologique de la pensée poétique, ce qu'il fait en écrivant de la poésie qui tend vers la fiction dominante de son âge; la Fiction Suprême. Cette thèse est divisée en trois étapes, chacune visant à démontrer l'importance du changement, l'abstraction et le plaisir (les trois termes dans la poème de Stevens Notes Toward a Supreme Fiction) pour déterminer comment les jeux de Stevens fonctionnent. Le premier chapitre identifie un topos observé tout au long de la carrière de Stevens dans lequel les poèmes sont abstrait de la réalité extrapoetic, les situant dans un espace séparé de la pensée, un espae de jeu. Le deuxième chapitre examine de plus près à cet espace de jeu et les métaphores de l'habitation, des saisons et du climat que Stevens utilise pour le décrire. Tout comme les théories de Kant et de Lévinas nécessitent une mise en forme métaphysique, la poésie de Stevens sec localise dans un domaine séparé, la pensée poétique. Le troisième chapitre fait une étude diachronique des considérations de la pensée poétique comme un domaine distinct de Stevens, faisant un usage particulier de la critique de l'éthique de Jacques Rancière pour démontrer que la poésie de Stevens est en mesure d'éviter le tournant éthique à travers son propre tournant poétique.
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Dabrosz-, Drewnowska Paulina. "Le Grand-Duché de Varsovie vu par les Français - le visage du Grand-Duché de Varsovie dans les documents français de ce temps." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040024.
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La thèse montre des opinions et avis de Français de l’époque sur le Duché de Varsovie présentés dans les différentes sources françaises des années 1807-1813, tout comme, la correspondance politique et militaire officielle, des mémoires et souvenirs des militaires français, et enfin des journaux parisiens, de la littérature, de la poésie et des pièces théâtrales. La première partie montre comment l’état polonais était vu par les diplomates français séjournant dans le Duché. Elle présente l’image politique assez critique de l’état, de ses institutions, des hommes de pouvoir, du gouvernement, des sentiments du peuple et des opinions des habitants du pays concernant les Français, les nouvelles résolutions politiques et juridiques. Dans la deuxième partie, les descriptions et de nombreux mémoires et souvenirs des militaires fournissent une image critique du pauvre pays polonais, de la vie quotidienne très différente de ses habitants, leurs coutumes. La troisième partie montre Duché de Varsovie par l’intermédiaire de la presse quotidienne, des ouvrages historiques publiés à l’époque en France, des romans et de la poésie, les pièces de théâtre. Cette image du Duché influencée par la propagande napoléonienne montre l’état allié bien gouverné, et l’image positive des PolonaisThe thesis furnishes the opinions of Frenchmen at that time about Duchy of Warsaw presented in different French sources of the period 1807- 1813 such as political and military official letters, memories of military Frenchmen, Parisian press, literature, poetry and theater playwrights. First part of the work shows how the polish country was seen by French diplomats who had been staying in Duchy of Warsaw in that period. The author focuses first on the political image of the country which is rather critical, secondly on the institutions, thirdly on the men in power, then on the government, on the people’s attitudes and the opinions of the inhabitants of the country about Frenchmen, and finally on the new political and legal solutions. In the second part of the work, there many descriptions, as well as memories of military men which form together an critical view of the poor polish country, different lifestyles and customs of its inhabitants. In that part, we can find as well geographical information about the climate and various and vivid descriptions of polish towns and polish countryside. In the third part, we come across the image as it was seen in everyday press, historical books edited at that period in France, fictions, poetry and plays. We find out that the image of Duchy of Warsaw, strongly influenced by the Napoleonic propaganda is positive. It comes out that the polish allied country was well governed
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Summers, Stephen. "Laughter Shared or the Games Poets Play: The Ethics and Aesthetics of Irony in Postwar American Poetry." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18322.
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During and after the First World War, English-language poets employed various ironic techniques to address war's dark absurdities. These methods, I argue, have various degrees of efficacy, depending upon the ethics of the poetry's approach to its reading audience. I judge these ethical discourses according to a poem's willingness to include its readers in the process of poetic construction, through a shared ironic connection. My central ethical test is Immanuel Kant's categorical imperative and Jurgen Habermas's conception of discourse ethics. I argue that without a sense of care and duty toward the reading other (figured in open-ended ironies over dogmatic rhetorics), there can be no social responsibility or reformation, thus testing modernist assumptions about the political usefulness of poetry.
I begin with the trench poets Siegfried Sassoon and Wilfred Owen, whose sarcastic and satirical ironies are constructed upon a problematic consequentialist ethos. Despite our sympathy for the poets' tragic positions as soldiers, their poems' rhetoric is ultimately coercive rather than politically progressive. It negates the social good it intends by nearly mimicking the unilateral rhetoric that gave rise to the war.
The next chapter concerns Ezra Pound's Hugh Selwyn Mauberley and T. S. Eliot's The Waste Land, fundamental modernist poems defining the postwar Anglo-American era. In contrast to the trench poets, I argue these two poems at their best manage to create an irony of free play, inviting the audience's participation in meaning-making through the irony of self-parody. Traditional ethical critiques of these poets' troubling politics, I argue, do not negate the discourse ethics present in these texts.
The final three chapters follow the wartime and postwar ironies of the American poets William Carlos Williams, Marianne Moore, and Wallace Stevens. Williams, a medical doctor, makes use of the ironic grotesque in his poems to offer the voice of poetry to the disenfranchised, including individuals with disabilities. Moore, a modernist and early feminist, pairs her poems to decenter poetic authority, depicting possible ethical poetic conversations. Finally, Stevens's democratic, pragmatic ethics appears within poetry that continually invites its readers to fill in gaps of meaning about the war and beyond.
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Malm, Erik. "Scenankomst : Finns det en plats för slam i skolsammanhang?" Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-55739.
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This degree project essay examines the literary culture phenomenon known as poetry slam, a competitive format for performance poetry, with the purpose of discussing whether poetry slam could contribute to upper secondary school Swedish teaching or not. The essay consists of two parts, one where poetry slam is presented and one where poetry slam is discussed from a didactic perspective. In the first part, a brief history of poetry slam and its origins in the U.S. is presented, followed by a discussion of the ideology within the slam movement. Furthermore, the set of rules that regulate poetry slams are presented and finally the first part of the essay is ended with a discussion of poetry slam as a poetic genre of its own. The second part starts by presenting and discussing the concept of aesthetic learning processes and how poetry slam might enable such processes. Poetry slam is then related to the Swedish subject syllabus for upper secondary school in order to analyse whether there is any rationale for poetry slam in Swedish teaching or not. Furthermore, poetry slam is related to literacy development, first by discussing creative writing and then by discussing oral performance. The results of the analysis shows that poetry slam is foremost motivated in Swedish teaching as a literary historical content, partly as an opportunity to work with oral performance, and also to cultivate students’ linguistic subjectivity. Poetry slam could possibly enable aesthetic learning processes, although it may be questioned whether poetry slam qualifies as an artistic community professional enough to provide artistic working methods. The very concept of a school poetry slam could also be seen as a contradiction, when considering the slam movement’s self image of counter culture, as schools themselves could be interpreted as dominant literary establishments. Possible pitfalls related to poetry slam in Swedish teaching are the competitive format’s effect on students socio-emotional safety and the scoring system that may be hazardous for students’ linguistic subjectivity. Also, poetry slam may not meet the curricular demands on rhetoric performances which are mandatory in the upper secondary school Swedish courses, and thus questions may be raised if oral poetic performances can be prioritised at the expense of oral rhetoric performances. Moreover, the free, creative space provided to students within creative writing processes puts high demands on the teacher balancing students’ creative freedom, in order to possibly articulate hidden knowledge, with making sure that students do not spend time procrastinating.
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Ryding, Karin. "Poetry is for everyone : A comparative analysis of the cut-up technique, Magnetic poetry and the casual word game Words of Oz." Thesis, Uppsala universitet, Institutionen för speldesign, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-228190.
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Language is a system that fundamentally influences us as human beings. There are numerous schools of thought critiquing our use of language and celebrating attempts to break free of the control it has over our lives. In that perspective a transformative play with language can be seen as critical play, and a game design approach supporting this kind of play can be defined as critical. The cut-up technique is an aleatory literary technique invented by the Dadaists in the 1920s. It was the fundamental lack of belief in society and language that gave birth to the cut-up method. Mary Flanagan includes it in her book “Critical Play: Radical Game Design” as part of the critical game-design paradigm. The singer-songwriter Dave Kapell invented Magnetic Poetry in the early 90s inspired by the cut-up technique and how artists such as William Burroughs and David Bowie used in their work. I am a co-founder of Ozma Games – a game studio based in Malmö, Sweden. In Ozma we are working on a social word game called Words of Oz. Magnetic Poetry inspired us in the design of Words of Oz, as we wanted to make a casual game that could evoke players’ creativity. The Dadaists clearly wanted to challenge the way we use language. In this essay I will compare the Dadaist cut-up method with its later adaptations Magnetic Poetry and Words of Oz. My question is whether the critical design approach is sustained in Magnetic Poetry and Words of Oz or if the change in technology and framing has limited the subversive potential from which they originated.
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Guthrie, Elizabeth. "V portraits : toward a realized poetic play." Thesis, University of East London, 2017. http://roar.uel.ac.uk/7323/.
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My practice-based PhD project entitled, "V Portraits - Toward a Realized Poetic Play" will define the 'poetic play', a hybrid form of performative text. This definition will evolve through employing the following methodological question: How can a dialogic practice-based investigation of the hybrid form of the poetic play through the five individual sense modalities assist in the aesthetic situating of, and subsequently the fully realized definition of, the poetic play? The poetic play is a relatively new form emerging largely in the latter half of the 20th Century out of an experimental tradition that has not been completely developed in discourse. This project will offer context and a definition of the poetic play and then apply a model of analysis to five pieces by different artists. For the practice-based portion, I will explore the methodological question through my original text and five performative realizations in a sequence entitled "Portraits". These original performative pieces will each emphasize one of the five senses in order to establish an aesthetic history of the form and expand the sphere of its performative capabilities through contemporary theory. Expressing the text through various senses and media, brings the poetic play forward into the current social and artistic dialogue.
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McEwan, Andrew. "Poetic play communities : bpNichol’s Fraggle Rock screenplays." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/50180.
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This thesis analyzes the screenplays written by Canadian experimental poet bpNichol for the Jim Henson produced children’s television program Fraggle Rock between 1982 and 1986. Nichol’s Fraggle Rock writing represents a moment in his multi-genre oeuvre at which to observe his poetics and creative philosophies on display in a popular cultural setting. The ludic poetics exhibited in both the form and narratives of the screenplays display the ways in which playful engagement with language may create interactive communities of play. Through shared attitudes towards language, language games, nonsense, and absurdity, play and play communities emerge as a preoccupation of Nichol’s work within the Fraggle Rock narrative constraints, and links them with his
poetry and poetics. To explore Nichol’s specific figuring of play, this thesis surveys theories of play from diverse theoretical backgrounds to develop a ludic model based in player-to-player relationships and communication. It also analyzes canonical treatments of play to mark off the concerns of the current study, and address the ambiguities of the term. Nichol’s Fraggle Rock screenplays employ song, language, and poetry as forms of community experience and engagement that foster play relationships, and allow
individuals to collectively manipulate the forms of their communication. These language games and language play constitute the Fraggle world of Nichol’s episodes and highlight the play community as a paracosm based in shared manipulation of communicative conventions. Further, this thesis analyzes the ”pataphysical elements of the Fraggle Rock play community in Nichol’s episodes, and how these provide a playfully creative and critical angle with which to view the normative “human” world.Arts, Faculty of
English, Department of
Graduate
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Wright, Michelle. "Time, consciousness and narrative play in late medieval secular dream poetry and framed narratives." Thesis, University of South Wales, 2017. https://pure.southwales.ac.uk/en/studentthesis/time-consciousness-and-narrative-play-in-late-medieval-secular-dream-poetry-and-framed-narratives(7cbf5e12-c655-4177-84f8-1445f1ffef85).html.
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This thesis considers time and narrative play in dream poems and framed narratives. It begins with a chapter on the history of time perceptions and time-telling, and explores how ideas about time influenced medieval writers. It also surveys some modern views on the history of time-measurement a nd its influences on culture and the collective consciousness. Chapter two, after analysing the treatment of time in the Roman de la Rose, surveys some of the ways in which modern criticism has evaluated and conceived the genre of secular dream literature that developed from the Roman de la Rose. Chapter three examines the innovative use of the convention of beginning a poem with a seasonal opening and theorises that this becomes a `language' open to adaptation and variation. Chapter four looks in detail at Froissart's L`Orloge amoureus and discusses the clock as a new object which, contrary to the views of cultural historians, was embraced by medieval writers, religious and secular, to symbolise a range of virtues, qualities and ideas. I argue that the clock inspired creativity rather than heralding a rationalisation of the mind that would stifle imaginative responses to this new technology. Chapter five explores metafictional and self-reflexive devices in Froissart's Joli Buisson de Jonece and Chaucer's House of Fame. I consider how these texts play with narrative time and sequence by writing the genesis of the text into the poem. Finally, chapter six examines ideas of closure in medieval dream poetry and looks specifically at the reciprocity and inconclusiveness of the Judgement poems of Guillaume de Machaut. Because the second poem reverses the decision of the first poem, it brings into question the authority of the text and the unity of the authorial voice.
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Tompsett, Daniel Charles. "The reduction of metaphysics and the play of violence in the poetry of Wallace Stevens." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/388.
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The thesis demonstrates how Wallace Stevens' poetry utilises pre-Socratic philosophy in overcoming post-Kantian dislocation from the 'thing-in-itself'. I initially consider Stevens’ poetry in terms of Hans-Georg Gadamer's ontological conception of the 'play' of art, an interactive existence overlooked by Kant. Through the ‘play’ of Stevens’ poems the reading audience are implicated in their reduction to being. The origin of this conception leads Gadamer back to Parmenides who Stevens had read. I argue that Stevens’ poetry ‘plays’ its audience into an ontological ground in an effort to show that his ‘reduction of metaphysics’ is not dry philosophical imposition, but is enacted by our encounter with the poems themselves. Through an analysis of how the language and form of Stevens’ poems attempt to reduce mind and world to concepts that parallel Parmenides’ poetic sense of being, and Heraclitus’ notion of becoming, the thesis uncovers the ground in which Stevens attempts a reconnection with the ‘thing-in-itself’. It is through the experience of reconnecting to an ontological centre, which his poetry presents as the human project, that Stevens’ poetry also presents itself as a means of replacing religion.From here we turn to Emmanuel Levinas and Jacques Derrida for an exposition of how such a reduction reduces the ‘Other’ to ‘otherness’ and their worry that this reduction legitimates violence within the thought of Martin Heidegger and Parmenides. From this I make a case for how such reductions are connected to what I refer to as 'the play of violence' in Stevens' poetry, and to refer this violence back to the mythology Stevens' poetry shares with certain pre-Socratics and with Greek tragedy. This shows how such mythic rhythms are apparent within the work of Friedrich Nietzsche, Heidegger and Gadamer, and how these rhythms release a poetic understanding of the violence of a ‘reduction of metaphysics’.
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Smith, Yvonne Joy. "Brightness Under Our Shoes: the Redress of the Poetic Imagination in the Poetry and Prose of David Malouf, 1960-1982." University of Sydney, 2009. http://hdl.handle.net/2123/5139.
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Doctor of Philosophy(PhD)This study investigates the poetic foundation of David Malouf’s poetry and prose published from 1960 to 1982. Its purpose is to extend reading strategies so that the nature of his poetic and its formative influence are more fully appreciated. Its thesis is that Malouf explores and tests with increasing confidence and daring a poetic imagination that he believes must meet the demands of the times. Malouf’s work is placed in relation to Wallace Stevens’ belief that the poetic imagination should “push back against the pressure of reality”, a view discussed by Seamus Heaney in “The Redress of Poetry”. The surprise of the poetic as “unpredicted aesthetic value” (García-Berrio, 1989) is significant to his purposes and techniques, as it creates idea-images and feeling-values (Jung, 1921) that bring together apparently opposite ways of knowing the world. In seeking to represent the meeting of inner and outer perceptions, Malouf’s work shows the influence not only of Stevens but also Rilke and contemporary American poetry of “deep image”. The Australian context of Malouf’s work is considered in relation to Judith Wright’s essay “The Writer and the Crisis” and the poetry of Malouf’s contemporaries. Details of the manuscript development of his first four novels show Malouf’s steps towards a clearer representation of his holistic, post-romantic vision. His correspondence with the poet Judith Rodriguez provides useful insights into his purposes. Theories and research about brain functions, the nature of intelligence and learning provide an important international context in the 1960s and 1970s, given Malouf’s interest in how meaning forms from perception and experience. Jean Piaget’s view of intelligence and David Kolb’s theory of experiential learning (1984) offer frameworks for reading Malouf that have not yet been considered. The thesis offers a model of poetic learning that highlights the interplay of dialectically opposed ways of forming meaning and points to the importance for Malouf of holding diverse states of mind together through the poetic imaginary.
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Dobson, Julia. "The theatre of the self : poetic identity in the plays of Helene Cixous and Marina Tsvetaeva." Thesis, University of Nottingham, 1996. http://eprints.nottingham.ac.uk/11092/.
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This comparative study of the theatre of Helene Cixous and Marina Tsvetaeva proposes a reading of their plays as a coherent corpus engaged specifically with the representation of poetic identity. Tsvetaeva's and Cixous' plays present a diverse range of characters who can be identified as poet-selves and who struggle to assert their identity in hostile environments. An inherent link is established between the thematic and the generic. Cixous' and Tsvetaeva's adoption of the theatre as genre in which to develop their conceptualisations of poetic identity is shown to be important to the thematic contexts in which the poet-selves are constructed. This study defines four elements: language, exile, sexual difference and Greek mythology, which are shown to be common to the representation of poetic identity in Tsvetaeva's and Cixous' plays. Each element is addressed in turn in Chapters Two to Five and its role in both writers' constructions of poetic identity in their individual plays is explored and problematised. The conclusion evaluates the radical nature of Cixous' and Tsvetaeva's dramatisations of poetic identity in the context of the representation of the female poet and discusses the evolution of this theme in a chronological approach to their theatre.
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Salom, Leo. "How to write a building." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/33687.
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The following pages contain the imagination for a library to be built in the manner of a sestina. The question that titles the book and the work within has preoccupied me for a while and at this moment, it would be an error to say that a conclusion has been reached; ultimately, solutions only propel echoes, foretelling of the blind fold before our eyes, ignorance. There is only a hope that the images here are to you, the reader, as crystalline as they were to me, the dreamer.Master of Architecture
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Amaro, MÃrcio Henrique Vieira. "The love and the war in Aristophanes by a reader the Play Frogs." Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=14833.
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CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel SuperiorA partir da leitura da peÃa RÃs, de 405 a.C., de AristÃfanes, depreende-se uma forte utilizaÃÃo de material mitolÃgico utilizado pelo comediÃgrafo na construÃÃo do texto. Dessa forma, uma leitura dessa comÃdia, a partir das modernas abordagens cientÃficas do mito, permite a determinaÃÃo de um nÃcleo mÃtico capaz de oferecer uma importante chave de leitura para a obra de AristÃfanes, bem como para a produÃÃo dramÃtica do final do perÃodo clÃssico grego. No agÃn entre Ãsquilo e EurÃpedes, sÃo os prÃprios trÃgicos, que, insultando-se, revelam como fonte de sua produÃÃo, respectivamente, a influÃncia dos mitos de Ares e Afrodite. Sendo os dois tragediÃgrafos integrantes da trÃade eleita pelos atenienses como os melhores representantes do gÃnero trÃgico, e, sendo a poesia uma das fontes constituintes da educaÃÃo do cidadÃo grego, a pesquisa verificarÃ, atà que ponto os mitos de Ares e Afrodite estÃo presentes na obra dos dois tragediÃgrafos, e como ambos os utilizam como contribuiÃÃo para o fundamento da formaÃÃo do espÃrito do homem grego. Tendo como base uma dialÃtica entre o amor e a guerra, a pesquisa irà verificar as ocorrÃncias dessas tradiÃÃes na obra do comediÃgrafo AristÃfanes, a partir da leitura da peÃa RÃs. AristÃfanes, ao escolher o reino dos mortos como espaÃo de discussÃo entre essas duas tradiÃÃes mitolÃgicas, estabelece um tribunal paradigmÃtico, apto para apreciar e valorar os diferentes elementos e tipos de discurso trÃgico, tratando-os, entretanto, sob a Ãtica cÃmica. Faz-se mister determinar atà que ponto o discurso cÃmico, a partir do paralelo entre estruturas do submundo e a contingÃncia da vida ateniense estariam sendo utilizados como uma tentativa de interpretar o mito. Por fim, verificaremos se comÃdia no ano de 405 a.C., com a apresentaÃÃo da peÃa RÃs, procurava apropriar-se do discurso mitolÃgico, modificando-o e plasmando-o de acordo com as novas exigÃncias da pÃlis, como antes fizeram os trÃgicos, e quais as implicaÃÃes desse novo discurso diante dos elementos do fazer teatral: texto, performance e audiÃncia
Based on a reading of the play The Frogs, 405 b.C., by Aristophanes, itâs inferred a strong use of mythological material used by the comediographist in the construction of the text. Therefore, a reading of that comedy under the modern scientific approaches to the myth allows the determination of a mythical nucleus able to offer an important key to reading the work of Aristophanes as well as the dramatic production of the late classical Greek period. In the agon between Aeschylus and Euripedes, the tragic themselves are the ones who, insulting each other, reveal the source of their production to be, respectively, the influence from the myths of Ares and Aphrodite. Both the tragedians being members of the triad elected by the Athenians as the best representatives of the tragic genre, and, the poetry being one of the constituent sources of the Greek citizenâs education, this research will verify to what extent the myths of Ares and Aphrodite are present in the work of the two tragedians, and how both use it as a contribution to the foundation for the shaping of the Greek manâs spirit. From a dialectic between love and war, the second part of the research will verify the occurrences of these traditions in the work of the comediographist Aristophanes, analyzing the play The Frogs. The author, when choosing the kingdom of the dead as a discussion space between these two mythological traditions, establishes a paradigmatic court, able to appreciate and value the diferent elements and types of tragic speech, treating them, however, under the comical perspective. It is necessary to determine to what extent the comic speech from the parallel between the underground structures and the contingency of Athenian life were being used as an attempt to interpret the myth. Finally, will verify with the presentation of the play Frogs, the comedy would be, in 405 b.C., seeking to appropriate the mythological speech, modifying it and shaping it according to the new requirements of the polis, as the tragic did before, and what are the implications of this new discourse on the elements related to theater: text, performance and audience
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Parry, Abigail. "Spook and the Jewel Thief & The Polyvalent Plaything : three forms of play in 20th and 21st century poetry." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12303/.
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This thesis identifies and explores three forms of play in poetry: specifically, the ‘interred’ (or etymological) pun, the hypogram, and the manipulation of what Johnson terms discordia concors, or harmonious discord. The precise mechanics of each are scrutinized with close readings of the work of Geoffrey Hill, Paul Muldoon and Jen Hadfield. Extrapolating from these analyses, the behaviour and potential uses of play are examined more broadly in relation to formal play, sonic play, punning, and oppositional texturing. It will be shown that the more ludic a poem, the greater the risk that it will turn in on itself; the anatomy of the poem is therefore compared to its etymological counterpart, the riddle. The thesis concludes that play, in this context, should be viewed as a fundamentally telic activity. The forms of play examined all function as what may be termed a contrivance of coincidence; successful contrivance behaves surprisingly algorithmically, and sensitivity to its mechanics means that play may be put to poetic purpose. A collection of poems – Spook and the Jewel Thief – is submitted in support of this thesis, and demonstrates some of the ways in which play may be deployed.
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Wandery, Oscar. "En brygga på väg mot språket : Om Rilkes plats i Heideggers essä Wozu Dichter?" Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-29796.
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In this essay I show how Wozu Dichter? (1946) and the writings of Rilke can be read as a change in Heidegger’s relationship and view on poetry. Through a close reading of the text I trace the change from a society directed political and critical view on poetry, to a view which places language itself at heart. These different viewpoints correspond respectively to Heidegger’s readings and interpretations of Hölderlins poetry throughout the 30s to early 40s, and the later more pure language philosophical works found in Unterwegs zur Sprache. Hence, I argue that Wozu Dichter? can be read as a Bridge between these two (often considered separate) periods in Heidegger’s thinking. Furthermore I argue that the work with Rilkes poetry directly influenced Heidegger’s approach in Unterwegs zur Sprache, and marks a tonal change in the in his works. To illustrate this, I draw a parallel between the statement that poetry is “more saying”, which is developed in Wozu Dichter? and the claim in Die Sprache (1950) that poetry is “pure saying”. I also argue that Rilke’s idea of the “more saying” poetry as creation of “a safe-being”, which Heidegger talks about in terms of a district (Bezirk) and house of being, correlates to the view in Die Sprache of language as a domestic context. This view does not appear in the earlier texts about Hölderlin, such as Hölderlin und das Wesen der Dichtung. Hence it represents a new way of viewing the nature of language, not as a thing we have to examine through the nature of humanity, but instead as a locality we have to learn to live in and through.
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Rawes, Alan Leigh. "To 'endow with form our fancy' : the pull to form and the play of fancy in Byron's poetry 1809-1817." Thesis, University of Liverpool, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364115.
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BARZAGHINI, NICOLETTA. "RUNNING TO PARADISE: UNA LETTURA CUMULATIVA DELLA RACCOLTA RESPONSIBILITIES: POEMS AND A PLAY (1914) DI WILLIAM BUTLER YEATS." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/932.
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Questa tesi propone una lettura cumulativa della raccolta Responsibilities: Poems and a Play di William Butler Yeats, pubblicata per la prima volta nel 1914 e successivamente inclusa in un’opera di più ampio respiro nel 1916. Questa raccolta si colloca cronotopicamente in un contesto pubblico nel quale le dinamiche sociali irlandesi, tra la fine dell’Ottocento e gli anni venti del Novecento, erano al centro di forze indipendentiste ed in un contesto privato nel quale emerge il prolungato interesse, da parte del poeta, per la costituzione di un’etica pubblica come base per la creazione dell’indipendenza irlandese. Essa diviene, pertanto, una presa di coscienza da parte dell’autore del proprio ruolo di guida, non più solo poetica ma anche sociale, che avrebbe potuto accelerare il processo di riscoperta dell’identità irlandese come requisito fondamentale per l’indipendenza.This thesis deals with the analysis of the collection Responsibilities: Poems and a Play by William Butler Yeats, published for the first time in 1914 and lately included in a wider collection in 1916. Responsibilities was conceived in a public context where the social dynamics in Ireland were subjected to contrasting forces, and in a private context in which the poet conceived the idea that only the constitution of a public ethic could have paved the way to the creation of an independent Irish state. For this reason, this collection can be considered as the beginning of a process of awareness by W. B. Yeats of his role, not only as a poet, in a social process that could have accelerated the rediscovery of the Irish cultural identity as an essential requirement for independence.
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Rogers, Rebecca. "Eighteenth-century Macbeths : the English poet and the Scottish play." Thesis, University of Southampton, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298893.
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Brott, Jonathan. "The Point of Play : Resuscitating Romantic Irony in Metamodern Poetics." Thesis, Stockholms universitet, Engelska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-157375.
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This essay investigates the prospect of Romantic Irony’s potential resurgence in contemporary poetics and discusses its relevance and likeness with metamodernism. The internet has by now not only seeped into, but fully permeated, the process of literary production and distribution. The effect of this has been the birth of a new kind of poetic discourse which can broadly be called metamodernism, The New Sincerity or Alt-lit. This movement is characterized by its self-reflexive metacommentary, fragmentary nature and an oscillation between of irony and sincerity. Vermeulen and Akker, among others, have hinted at metamodernism’s relation to Romanticism, but research into the specifics of its tendency towards Romantic Irony is scarce. By viewing the writings of Steve Roggenbuck (a central figure in the new poetic movement), alongside the philosophy of Friedrich Schlegel, I propose a comparative framework for discussion of sincerity, irony and the instrumentalization of contemporary metamodernist writing. I demonstrate that Roggenbuck’s writing displays narratological, tropological and thematic tendencies commonly associated with both Romantic Irony and metamodernism. Apart from broader structural comparison, I attempt a comparative analysis between Roggenbuck’s poetry (2010-2015) and Thomas Carlyle’s novel “Sartor Resartus” (1833-1834) in order to provide a visualisation of the rhetorical and narratological strategies of Romantic Irony. I aim to frame Romantic Irony as a sensibility, or mode of discourse - rather than a strict system of thought - which may still be at work today. In extension, the sensibilities of Romantic Irony may shed further light into the philosophical potential of the seemingly incomprehensible and contradictory tendencies of metamodernism. By ironicizing its poetic form, literary ambition and desire for sincerity in a post-postmodern era, Roggenbuck’s poetry celebrates ambiguity and literary failure, ultimately framing irony as a constructive and potentially democratic operation.
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Van, den Berg Celia. "Dramatization of poetry as strategy in an anger management programme for adolescent girls." Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/43268.
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Adolescence is a turbulent time and a critical transformational phase during which
major physical, emotional, cognitive and social shifts occur. The objective of this
study is to explore ways in which female adolescents can acquire anger
management skills. The study proposes that emotional competency is cultivated as a
result of the neurological plasticity of the brain and by applying learning material
based on the work of scholars in the fields of neuroscience and Applied Drama.
Adolescence is an opportune time for girls to learn emotional competency skills as
the incomplete development of the prefrontal area of the brain makes them more
inclined to risk taking and less aware of logical thinking processes. The study
indicates that anger floods the body with secretions like cortisol and adrenaline,
blocking logical thinking. Angry incidences can have destructive consequences for
relationships. The empirical study includes discussions of training levels for anger
management, such as the identification of anger-related emotions and anger styles,
understanding anger, and curbing angry expressions through assertive
communication.
As anger management is a practical aptitude, the empirical study applied selected
Process Drama conventions (as modes of Applied Drama), specifically role play,
tableaux, Mantle of the Expert and dramatized poetry. The benefit of these
conventions lies in the facility with which they can alternate between dual modes of
engagement and learning content. Process Drama launches the workshops’
participants into a make-believe world in which they can identify with a situation from
the inside out while simultaneously observing the situation from the outside in, a
phenomenon called metaxis. The female adolescent, while protective of her social
relationships, can safely enter a fictitious world and face the problems raised by
anger without jeopardizing her privacy or dealing with real-life emotions. The
convention of dramatized poetry enabled creative expression as the participants
wrote their own poems to personalize their insight into their need for anger
management. While the methodology was being practised, it was also assessed. As
the outcomes of the learning objectives were the participants’ responsibility, I could assess during the activities if they accommodated learning objectives in their
biography. In this study the participants were, for example, not able to fully utilize the
skill of assertive communication.
The integrity of the methodology of Process Drama for girls was affirmed when it was
successfully combined with the principles of brain-based learning. The literature
review and the outcomes of the empirical study confirmed that Process Drama
adheres to the principles of brain-based learning which is, inter alia, physiological,
social and emotional, and occurs in tandem with the developmental phase of the
participant. The research study is the culmination of various disciplines and an
endeavour to present a multimodal anger management programme that incorporates
the adolescent female on a cognitive, emotional and physical level, and in a sound
collaborative environment.Thesis (DPhil)--University of Pretoria, 2013.
lk2014
Drama
DPhil
Unrestricted
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Watts, Janet. "'Holding Baby' : a creative exploration to raise awareness about kinship care through the writing of a play, 'Holding Baby', and a poetry collection, 'Holding'." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8498/.
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Holding Baby: A creative exploration to raise awareness about Kinship Care through a play, Holding Baby, a poetry collection, Holding, and a critical commentary placing the work in a cultural, societal and practice-led context. The dramatic work Holding Baby covers a crisis where a grandparent is left taking responsibility for a young baby. In the tradition of social realist and community based drama, it reflects the real life stories of a growing number of connected persons or family members raising children who are not theirs by birth. The poetry collection Holding considers the personal response of the author, as a kinship carer, to that role's challenges and its rewards. In the critical commentary issues around kinship care are considered together with the history of the writing and its context. A detailed account is offered of the stage production process, as well as problems and possibilities around reaching potential audiences for both play and poetry. The relationship between the direct focus of the script and the comparative subjectivity of the poetry is reflected on and discussed.
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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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Van, Sundert Maria. "The translation of Emilie ne sera plus jamais cueillie par l'anémone, 1981, a poetic play by Michel Garneau." Mémoire, Université de Sherbrooke, 1989. http://hdl.handle.net/11143/10345.
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Michel Garneau was born "dans une familia trim bourgeoise."• His father was a judge and his mother a housewife. He adds, "j'ai toujours vécu dans la culture, les arts, la musique, la peinture." He grew up surrounded by these art forms, consuming them and he came to choose one form: "j'ai choisi le langage parce que le langage me fascine." Garneau believes language brings meaning to his existence and he has chosen writing as the means to support his existence. Art, for Garneau, is a medium through which he finds pleasure. Although all forms of art interest him, language obsesses him; all forms of language whether it be cinema, television, the theatre, poetry. Poetry and playwriting are the two genres from which he has derived the most pleasure. They are the genres that have consumed most of his time as a writer. He believes artists should take upon themselves the responsibility to manifest their presence in the world. They are witnesses of life and their work should reflect life. His own role as artist is that of promoting pleasure and of celebrating life. He states in an interview: "In my work, as in my life, the fundamental goal is pleasure…
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Hermsen, Terry. "Languages of engagement." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1070294401.
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Thesis (Ph. D.)--Ohio State University, 2004.Title from first page of PDF file. Document formatted into pages; contains xvi, 700 p. Includes bibliographical references (p. 201-209). Available online via OhioLINK's ETD Center
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Thompson, Peter Samuel Wentworth. "'Our doubtful author' : concepts and practices of interpretation in the Poets' War and its aftermath, 1600-1610, with particular reference to plays by Jonson, Marston and Shakespeare." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.495675.
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Blair, Paul S. "Figura rerum : 'the pattern of the glory' : the theological contributions of Charles Williams." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6364.
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This thesis seeks to show that Charles Williams makes a significant contribution to theology, and it demonstrates the nature of that contribution. A pattern of theological themes centering on the Incarnation, emphasizing the humanity of Christ, is repeated throughout his works. For Williams, human beings are images of the coinherent Godhead. His theological anthropology further develops through his understanding of imaging, as shown for instance in the Incarnation, and in Dante's characterization of Beatrice as a God bearer. His view of images is built from Coleridge's understanding of the nature of a symbol. This picture of imaging is widely applied, first and foremost to relationships of love, seen as potential incarnate images of grace. Williams seeks to extend his picture to all relationships and, further, to whatever man must do to go beyond himself to an encounter with God. He believes that man is responsible for his brother, in practice by bearing his brother's burdens, with substitutionary acts of vicarious love. A further part of his thinking then views people as living in coinherent relationships, and the universe as a web of coinherent relations. He draws his examples of natural coinherent relations from the world of commerce with its exchange and substitution of labors and from the child living within its mother, and builds a picture of what he calls the City, a broader coinherent society. Coinherence begins and flows from the Trinity and the Incarnation and then is found in relationships between God and man: in the Church, in the future City of God, and in all Creation. The Fall brings about the breakdown of the coinherence of God and man and man and man, and that breakdown is a central characteristic of sin. Williams believes that a regenerated coinherence in Christ brings about a renewal of mankind.
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Tabard, Laetitia. "Bien assailly, bien deffendu : le Genre du débat dans la littérature française de la fin du Moyen Âge." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040104.
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Cette étude vise à définir le débat comme un genre, qui se constituerait à la fin du quatorzième siècle dans le sillage des jugements de Guillaume de Machaut. Une approche chronologique du corpus met en valeur la manière dont le débat se détache dans l’ensemble composite de la littérature de dispute : il développe une structure qui lui est propre, fondée sur un dialogue conflictuel s’achevant par un appel au jugement du lecteur, qui laisse en suspens la question. Il s’inscrit dès lors dans des pratiques ludiques qui lui donnent sens, et qui parodient la dialectique et la rhétorique pour faire émerger une parole individuelle, en prise avec un public : dialogue à décrypter entre des êtres ambivalents, où l’auteur-narrateur se fait personnage et abdique son autorité, le genre appelle une diction, voire une mise en scène. Le débat entretient donc un rapport étroit avec l’évolution de la lyrique courtoise vers une forme de poésie morale, qui fait vaciller les catégories de pensée grâce au jeu du dialogue et à la possibilité de lectures multiples. Il met en avant une forme de savoir qui se constitue dans un rapport personnel du lecteur au texte, tout en conservant la musique de la parole vivante et la richesse dramatique du jeuThe aim of this study is to establish a definition of the debate as a literary genre, that would establish itself as such at the end of the fourteenth century in the wake of the Jugements by Guillaume de Machaut. A chronological approach of the corpus shows how the debate can be identified in the midst of the different kinds of dispute literature : it develops its own structure, based on an antagonistic dialogue ending with a plea to the reader’s wisdom, which leaves the issue open. It comes within the scope of recreational practices that give it meaning, and that parody dialectic and rhetoric in order to let an individual voice be heard directly by an audience : this genre consists in a dialogue between ambiguous beings, which has to be decrypted, where the author-narrator is a character and relinquishes his authority ; it needs to be spoken, or even performed. The debate has to do with the evolution of courtly lyricism, which tends to become a poetry dealing mainly with ethics and upsetting traditional categories of thought through the use of dialogue and the possibility of multiple meanings. It privileges a form of knowledge which consists in a personal relationship of the reader with the text, while still retaining the music of oral speech and the dramatic intensity of play
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Whearty, Lauren Ann. "Making Space: Language, Painting, Poem." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1307394266.
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Tabárez, Andrés. "Poeta ludens: Juego y humor en la poesía de Virgilio." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/285734.
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El objetivo de este trabajo es examinar elementos de juego y humor en la poesía de Virgilio. La tesis central del estudio no es que Virgilio era un autor alegre, ni que su obra deba interpretarse en clave menor. El trabajo no se propone ofrecer una nueva interpretación de conjunto; lo que se pretende, simplemente, es completar y enriquecer la imagen tradicional. Esta imagen, que nos presenta a un Virgilio invariablemente grave y serio, incluso hierático, no se corresponde con la totalidad de la obra del poeta mantuano. Para mostrarlo, el estudio ofrece una discusión de pasajes virgilianos en los que despuntan elementos de juego y humor. El cuerpo central de la obra se estructura en cuatro partes. En el primer capítulo se presenta la problemática del humor y se definen los conceptos centrales del estudio. A continuación se dedica un capítulo a cada una de las tres obras canónicas de Virgilio: Églogas, Geórgicas y Eneida.The aim of this dissertation is to examine elements of play and humour in the poetry of Virgil. The central thesis is not that Virgil was a light-hearted author, nor that his work should be interpreted in a lighter vein. The work does not intend to offer a new global interpretation of Virgil’s oeuvre; the aim is simply to complete and enrich the traditional image. This image, which presents an invariably grave and serious –even hieratical– author, does not correspond to the totality of Virgil’s work. To show this, the study offers a discussion of Virgilian passages illuminated with play and humour. The main body of the work is divided into four parts. In the first chapter, the concept of humour is analysed and the central ideas of the study are defined. This is followed by three chapters, one devoted to each of Virgil’s three canonical works: the Eclogues, the Georgics and the Aeneid.
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Tagaro, Andersson Anna. "Jag uppfinner en plats i dikten där vi kan vara tillsammans : En litterär studie i förlusten av ett modersmål." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-162383.
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The objective of this thesis is to examine how the bereavement of a mother tongue in various ways affects a person and how literature discusses this experience. How does literature reflect it and is it possible to identify any specific and recurring themes? Are there any similarities between the experience of migration and the experience of colonialism? What purpose does writing serve in this and how to describe the impact of language? Hopefully this thesis will contribute to a better understanding of the situation for newly arrived people and for persons living in Sweden with Swedish as a second language. The thesis has a postcolonial perspective as the focus is fiction dealing with a relocation from east to west. Earlier research and writings that has inspired is in particular the works by the two postcolonial theorists Franz Fanon and Sara Ahmed. The main source material for the study is literary works, e.g. the works of Jila Mossaed, Theodor Kallifatides, Athena Farrokhzad, Burcu Sahin and Yoko Tawada. The thesis is intentionally written in the form of an essay, suggesting the power of language and storytelling. The main objective of the thesis is to describe, rather than to arrive at a conclusion. One main focus is the author’s personal relation to the subject and to the Philippines and its colonial past. The literary works addressed in this study suggests that literature dealing with migration and language bereavement mainly focuses on a discussion about the relation between the native tongue and the new language, the relation between the metaphysical body and the new geographical location, about feelings of speechlessness and alienation that becomes physical. All these concurrent themes can be used as tools to define an experience that in many aspects is inconceivable. The thesis also identifies similarities between colonialism and migration, as both raise the question of inherit right to a place and a lifelong search for a place to call home. In this effort, writing is important and may function as an emancipatory lever to create new places.
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Lindeby, Susanna. "I en sovsäck i baksätet : Dikter." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-44712.
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Cicatko, Judy. "Playing to Mean and Meaning to Play: A n Examination of the Game between the Poet and His Audience in "Sir Gawain and the Green Knight"." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625599.
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Pettersson, Olof. "A Multiform Desire : A Study of Appetite in Plato’s Timaeus, Republic and Phaedrus." Doctoral thesis, Uppsala universitet, Avdelningen för teoretisk filosofi, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-186130.
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This dissertation is a study of appetite in Plato’s Timaeus, Republic and Phaedrus. In recent research is it often suggested that Plato considers appetite (i) to pertain to the essential needs of the body, (ii) to relate to a distinct set of objects, e.g. food or drink, and (iii) to cause behaviour aiming at sensory pleasure. Exploring how the notion of appetite, directly and indirectly, connects with Plato’s other purposes in these dialogues, this dissertation sets out to evaluate these ideas. By asking, and answering, three philosophically and interpretatively crucial questions, individually linked to the arguments of the dialogues, this thesis aims to show (i) that the relationship between appetite and the body is not a matter of survival, and that appetite is better understood in terms of excess; (ii) that appetite is multiform and cannot be defined in terms of a distinct set of objects; and (iii) that appetite, in Plato, can also pertain to non-sensory objects, such as articulated discourse. Chapter one asks what the universe can teach us about embodied life. It argues that Plato, in the Timaeus, works with an important link between the universe and the soul, and that the account of disorder, irrationality and multiformity identifying a pre-cosmic condition of the universe provides a key to understanding the excessive behaviour and condition of a soul dominated by appetite. Chapter two asks why the philosophers of the Republic’s Kallipolis return to the cave, and suggests that Plato’s notion of the noble lie provides a reasonable account of this. By exploring the Republic’s ideas of education, poetry and tradition, it argues that appetite – a multiform and appearance oriented source of motivation – is an essential part of this account. Chapter three asks why Socrates characterizes the speeches of the Phaedrus as deceptive games. It proposes that this question should be understood in the light of two distinctions: one between playful and serious discourse and one between simple and multiform. It argues that the speeches of the Phaedrus are multiform games, and suggests that appetite is the primary source of motivation of the soul addressed, personified by Phaedrus.
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Ducroux, Amélie. "Le problème de la relation dans la poésie de T.S. Eliot." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20065.
Full textAbstract:
Le problème de la relation a souvent été perçu par les lecteurs d’Eliot comme un manque de relations logiques, grammaticales, chronologiques, entraînant une difficulté à faire sens des poèmes. Ce manque perçu entraîne le lecteur à rechercher des relations dans la structure interne du poème ou dans le matériau intertextuel ou symbolique qu’il convoque. Il se confronte alors à une pratique intertextuelle bien particulière, non exempte d’une certaine forme de tromperie. La poésie d’Eliot fait jouer les relations syntaxiques, logiques et temporelles attendues. Cette poétique de l’indétermination met en déroute les tentatives de mise en relation logique. C’est pourtant l’ambiguïté de la syntaxe et cette poétique dialectique du paradoxe et de la non exclusion, qui rendent la lecture inépuisable. Le poète ne cesse de « parler » du problème de la relation. Il le met en œuvre et le travaille, instaurant une tension entre des dynamiques relationnelles qui s’opposent. La relation devient choc, collision. La logique du poème se fait autre, en appelle à la sensation autant qu’à la pensée. La relation déconstruit, elle devient porteuse tout en restant sous-entendue. T.S. Eliot n’a cessé, à travers sa poésie, de problématiser l’acte d’écriture lui-même. Il y apparaît comme un acte décisif, comme une mise en relation qui offre la possibilité d’une continuité tout en marquant une rupture. En donnant lieu au poème, le poète le relie à son extériorité même. Mais cette relation réinscrit en même temps la division au cœur du langage. La problématisation de ce rapport ambigu à l’écriture trouve à s’exprimer dans les relations établies entre des voix discordantes, entre le sujet et ses autres, et dans cette oscillation continue entre des positions discursives et métaphysiques en conflit. La construction du poème éliotien se fonde ainsi sur la possibilité même de sa déconstruction. Le poète offre des poèmes en déconstruction dans lesquels s’inscrit un sujet lui-même en perpétuelle dépossession de soi. Il ne s’agit pas, pour Eliot, de penser l’écriture, mais de se penser à partir de l’écriture. L’écriture est première. Elle est la condition même de la pensée de la relation qui s’élabore dans son œuvreThe problem of relation has often been perceived by readers of Eliot as a lack of logical or grammatical relations, which makes it difficult to understand his poems. This perceived deficiency causes the reader to look for relations in the very structure of the poem, in the texts the poem alludes to, or in the mythical structures it relies upon. The reader becomes aware of the singularity of Eliot’s sometimes misleading intertextual practice. The poetry of T.S. Eliot plays with and distorts syntactic, logical and temporal relations. His poetics of indeterminacy precludes any attempt to establish logical relations within the poems. Yet the very ambiguity of Eliot’s syntax and the paradoxical nature of his dialectical poetics make of reading itself an unlimited and unrestrained process. The poet constantly addresses the problem of relation. The problem itself is inseparable from the poetic idiom which gives it voice. It is explored along the lines of a tension between conflicting relational dynamics, creating a new logic which relies on sensibility as well as on thought and rationality. Relations deconstruct the poem; they are pregnant while remaining “hints half guessed”. Through his poetry, T.S. Eliot never stopped questioning writing itself. The act of writing results from a decision; it is an articulation offering the possibility of continuity while marking a rupture at the same time. By giving birth to the poem, the poet links it to its own exteriority. But such linkage also reiterates the division inherent to language itself. The problem of this ambiguous relation to writing is expressed through the relations established, within the poems, between discordant voices, between the subject and its masks, and through a constant oscillation between conflicting discursive and metaphysical stances. The construction of the poem thus relies on the very possibility of its deconstruction. Eliot offers poems in deconstruction in which the subject itself can only emerge through an act of self-dispossession. Eliot does not merely reflect upon writing through his poetry. Writing itself becomes the means of his own definition as a poet. Writing comes first. It is the condition of Eliot’s poetic exploration of relation
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Damerdji, Amina. "Le soupçon ludique. Les poètes officiels de la Révolution cubaine, de La Havane à Madrid (1966-2002)." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA074.
Full textAbstract:
La formation, à partir de 1966, d’un groupe de quatorze poètes autour de la revue El Caimán Barbudo affiliée au Parti Communiste de Cuba a fait émerger un nouvel ethos littéraire. Nous l’appelons « soupçon ludique » pour la méfiance facétieuse qu’il provoque chez le lecteur. Quels sont les traits définitoires, les implications et les incidences idéologiques et esthétiques de cet ethos ? En s’appuyant sur les 48 recueils produits par les membres du groupe entre 1966 et 2002, année de sa dispersion définitive, sur 29 entretiens ainsi que sur le dépouillement de dix fonds d’archives situés à Paris, Madrid et La Havane, cette thèse montre d’abord que la naissance de leur écriture répond à une série d’injonctions politiques et esthétiques paradoxales : être une « avant-garde officielle », rebelle mais pas trop critique, marxiste mais lyrique. Après le renvoi éclair du groupe par le Parti en 1968 puis la forte censure du Quinquennat Gris (1971-1976), l’esprit ludique déserte leurs poèmes politiques devenus solennels et sérieux pour se replier dans la sphère amoureuse et érotique. Dans ces poèmes d’apparence inoffensive, la mise en scène parodique des identités de genre constitue une cri- tique voilée des identités politiques produites par la Révolution. À partir de 1991, la dissidence de plusieurs membres du groupe, sa recomposition partielle autour de la revue Encuentro de la cultura cubana fondée à Madrid en 1996 avec le soutien du gouvernement espagnol invitent à évaluer à nouveaux frais leur écriture : les dissidents quittent le soupçon ludique pour une écriture de la dénonciation qui thématise toutefois le jeu comme le symbole de leurs illusions perduesFrom 1966 onwards, the formation of a group of fourteen poets around the Cuban Communist Party-affiliated journal El Caimàn Barbudo created a new literary ethos named “playful suspicion” because of the mischievous mistrust it provokes in the reader. What are the defining traits, implications and ideological and aesthetic occurrences of this ethos? This dissertation was based on the 48 collections produced by the group members between 1966 and 2002 (year of its final dissolution), on 29 interviews, and on the examination of 10 archival holdings in Paris, Madrid and Havana. This dissertation first shows that the birth of their writ- ing responded to a series of paradoxical political and aesthetic demands: to be an “official avant-garde”, to be rebellious but not overly critical, to be both Marxist and lyrical. After the sudden dismissal of the group by the Party in 1968, then the harsh censorship of the five Grey Years (1971-1976), their playful spirit deserts the political poems which become solemn and serious, and withdraws to the romantic and erotic sphere. The parodic staging of gender identities in these seemingly harmless poems constitutes a veiled criticism of the political identi- ties produced by the Revolution. Starting in 1991, the dissent of several members of the group dissent and its partial recomposition around the journal Encuentro de la cultura cubana founded in Madrid in 1996 with the support of the Spanish government invites a new evaluation of their writing. The dissidents abandon playful suspicion in favor of denunciative writing, which nevertheless thematically places playfulness as a symbol of their lost illusions
En Cuba, a partir de 1966, se forma un grupo de catorce poetas en torno a la revista El Caimán Barbudo, afiliada al Partido Comunista nacional, generando un nuevo ethos literario que nosotros llamamos “sospecha lúdica”, por el recelo divertido que provoca en el lector. ¿Cuáles son los rasgos definotorios, las implicaciones y los impactos ideológicos y estéticos de este ethos? Para responder la tesis se basa en el estudio de los 48 poemarios escritos por los miembros del grupo entre 1966 y 2002, año de su desaparición, 29 entrevistas y 10 fondos de archivo sitos en Madrid, París y La Habana. El trabajo muestra en primer lugar que el naci- miento de esta escritura responde a una serie de requisitos políticos y estéticos paradójicos: ser una “vanguardia oficial”, rebelde pero no demasiado crítica, marxista pero lírica. En se- gundo lugar mostramos que, después del súbito desahucio del grupo por el Partido y la fuerte censura del Quinquenio gris (1971-1976), el espíritu lúdico deserta los poemas políticos, que se vuelven solemnes y serios, para replegarse en la esfera amorosa y erótica. En estos poemas aparentemente inofensivos, la paródica puesta en escena de identidades de género constituye une crítica velada de las identidades políticas producidas por la Revolución. A partir de 1991, la disidencia de varios miembros del grupo, su parcial recomposición en torno a la revista Encuentro de la cultura cubana, fundada en Madrid en 1996 con el apoyo del gobierno espa- ñol, son elementos que invitan a reevaluar esta escritura: los disidentes abandonan la sospecha lúdica por una escritura de la denuncia que, sin embargo, tematiza el juego como el símbolo de sus ilusiones perdidas
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Foloppe, Ganne Régine. "Baudelaire et la vérité poétique." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30066.
Full textAbstract:
Notre hypothèse de travail est la suivante : sous le couvert d’un pacte de fausseté et de jeu, Baudelaire met en œuvre le passage vers une poésie qui, pour s’interroger désormais profondément sur elle-même (fondements, référents, métamorphoses, essence et nécessité), exige et engendre sans cesse son foyer propre de vérité, au-delà de tout système. Ainsi, à la différence de ses prédécesseurs, le poète ne fait plus porter principalement son attention, ses efforts, ses doutes et soupçons, sur la portée lisiblement et socialement constructive de ce qu’il écrit, mais sur le rapport entre une apparence poétique ou artistique qui se tient (la figure, l’image) et le tréfonds de l’homme, soit un certain effondrement. La perspective esthétique et morale que nous cherchons donc à définir dans l’œuvre baudelairienne interroge le lien de la parole avec celui qui l’émet d’une part, et celui qui la reçoit d’autre part : la mise en cause de la langue en tant que vecteur effectif est donc posée, ainsi que la recherche anxieuse qui l’accompagne. À la fois nés et déjà distanciés du Romantisme, ce nouveau point de mire et cette réflexivité libèrent, exacerbent et menacent le poétique : c’est ainsi qu’à travers les motifs de l’hypocrisie, du mensonge, du masque, et de l’art lui-même, le poète défie cet idéal au fur et à mesure qu’il l’initie, tout en vivant une véritable passion poétique dans laquelle il s’investit et se consume, corps et esprit, non sans une forme d’intégrité. Tels sont les paradoxes envisagés. En quels termes peut-on parler de vérité poétique dans l’œuvre de Baudelaire ? En extrait-il l’idée vers un déploiement et une postérité assurément fertiles, ou bien l’étouffe-t-il dès sa source dans la clairvoyance qui le caractérise ? Une telle lucidité peut-elle travailler contre l’authenticité du geste artistique ? Où, quand et comment se joue donc le vrai du poème ? Pourquoi et vers quoi ? En quoi l’œuvre trouve-t-elle à travers ce fil une cohérence particulièrement éclairante en tant qu’initiatrice de la modernité ? Mais également, avec quelles limites ? Comment et pourquoi le sens poétique peut-il et doit-il échapper au souci dialectique, donc se jouer pareillement des travestissements et de toute adhérence systématique - notamment d’une fidélité à toutes les évidences de gravité ? Il s’agit donc de tenter de comprendre en quoi le poétique, à partir de Baudelaire, et conséquemment à son travail, dans les transports et substitutions qu’il suppose, dans son improuvable et sa mystification, mais également dans la rigueur qui le caractérise, peut-être mis est en rapport avec le vrai, non pas selon des systèmes constants extérieurs et préalables, mais selon des entrées, des perspectives interférant avec la parole créatrice, notamment avec l’expérience de l’inspiration, de la composition, et de la lecture du symbole. Puisque telle vérité ne peut évidemment pas être posée comme un théorème ou axiome positivement prouvés et applicables, elle ne sera donc pas envisagée à travers un prisme théorique et philosophique précis, mais bien confrontée méthodiquement à la littérarité du texte, au poème, en ce qu’il présente et initie une forme d’existence intrinsèque, dont l’originalité et le paradoxe seraient précisément de ne pas être positive, au sens d’appuyée sur quoi que ce soit de préjugé, où tendue à dessein vers un objectif prescritOur working hypothesis is as follows : under the cover of a pact of falsehood and play, Baudelaire implements the passage toward a poetry which, in order to deeply question itself henceforth with regard to its groundings, referents, metamorphoses, essence, and necessity, requires and incessantly engenders its own center-of-truth beyond any system. Thus, as distinct from his predecessors, the poet no longer aims his attention, efforts, doubts and suspicions at the readably and socially constructive import of what he writes, but at the relation between a poetic or artistic appearance that holds together (the figure, the image) and the inmost depths of humankind, that is, a certain dejection or collapse. The esthetic and moral perspective we seek thus to define in Baudelaire’s work questions the connection between the word and the person emitting it on the one hand, and those receiving it on the other: hence the calling into question of language as an actual vector as well as the anxious research that accompanies it are posed. At once born of and already distanced from Romanticism, this new focus and reflexivity free, exacerbate, and threaten the poetical: thus, by way of the motifs of hypocrisy, lying, the mask and art itself, the poet challenges this ideal in the very process of initiating it, all the while living a veritable poetic passion in which he invests and consumes himself, body and mind, not without a form of integrity. Such are the paradoxes envisioned. In what terms can one speak of poetic truth in Baudelaire’s work? Does he extract the idea of it toward an unfolding and assuredly fertile posterity or else does he stifle the upsurge with his characteristic clairvoyance ? Can such lucidity work against the authenticity of the artistic gesture? Where, when, and how does trueness come into play in a poem ? Why and with a view to what? In what manner does the work, by way of this strand, find a particularly illuminating coherence as initiator of modernity? But equally, within what limits? How, why, can and must poetic meaning escape dialectical concerns and hence deceive, likewise, all travesties and systematic adherence — and especially faithfulness to all obvious facts of solemnity? It’s about attempting to understand in what way the poetical, starting with Baudelaire, and as a result of his work, within the transfers and substitutions it presupposes, in its unprovability and its mystification, but equally in the rigor that characterizes it, may be placed in relation with the true, not according to constant external and pre-existing systems, but according to access-ways, perspectives interacting with creative speech, namely with the experience of inspiration, composition, and the reading of symbols. Since such a truth obviously cannot be posed as a theorem or axiom positively proven and applicable, it will therefore not be envisioned through a precise theoretical and philosophical prism, but rather confronted methodically with the literariness of the text, with the poem, in that it presents and initiates an intrinsic form of existence whose originality and paradoxy would be precisely not to be positive, in the sense of supported by anything pre-judged whatsoever, or tending by design toward any prescribed objective
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CAI, JIN-ZHI, and 蔡金治. "The symbolism of the sea in Yeats's poetry and plays." Thesis, 1992. http://ndltd.ncl.edu.tw/handle/70929706493852567101.
Full textAbstract:
碩士國立中正大學
外國語文研究所
80
I. Introduction II. Early Period (1889-1903) A. Introduction B. Crossways (1889) 1. "The Lake Isle of Innisfree" 2. "The an Isle in the Water" 3. "The Sad Shepherd" 4. "The Indian to His Love" 1. "The Stolen Child" C. The Wanderings of Oisin (1889) D. The Rose 1. "Cuchulain's Fight with the Sea" 2. "The White Birds" 3. "The Man Who Dreamed of Faeryland" 4. "The Rose of Battle" E. The Shadowy Waters (1900) III. Middle Period (1903-1919) A. Introduction B. Lyrics 1. "The Withering of Boughs" 2. "The Collar-Bone of a Hare" C. On Baile's Strand (1904) D. At the Hawk's Well (1917) E. The Green Helmet (1910) F. The Only Jealousy of Emer (1919) IV. Mature Period (1919-1939) A. Introduction B. Michael Robartes And The Dancer (1921) 1. "On a Political Prisoner" 2. "A Prayer for My Daughter" C. The Tower (1928) 1. "Sailing to Byzantium" 2. His Dream" D. The Winding Stair And Other Poems (1933) 1. "At Algeciras--A Meditation Upon Death" 2. "Byzantium" E. Words For Music Perhaps 1. "The Delphic Oracle upon Plotinus" F. Last Poems (1936-39) 1. "News for the Delphic Oracle" V. Conclusion
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"Hong Kong contemporary poetry center." 1998. http://library.cuhk.edu.hk/record=b5890010.
Full textAbstract:
Tsang Lap Man Raymond."Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1997-98, design report."
Includes bibliographical references (leaf 60).
INTRODUCTION --- p.[1]
PERSONAL DESIGN OBJECTIVES
PROJECT SELECTION
PROJECT ANALYSIS --- p.[6]
SUBJECT ANALYSIS
CLIENT / USER ANALYSIS
SITE / CONTEXT ANALYSIS
PROCESS --- p.[15]
FINAL PROJECT --- p.[17]
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Tseng, Chung-Hsiu, and 曾琮琇. "Journey to Fun：Research of Taiwan Modern Poetry on PLAY（1980-）." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/mxdj5z.
Full textAbstract:
碩士國立成功大學
中國文學系碩博士班
95
The field of this research is about the play of the Taiwanese modern poetry , focusing on how poets carry on the play of the poem as a direction of this syudy.This research also discusses the origin of "PLAY" theories and it’s development in Taiwanese "play" poems since 1980's. The full text totals six chapters: In chapter 1, we describe the motif, the significance,the definition and the prior records for this research.Chapter 2 analyses and discusses the “PLAY” theories in ancient and modern, east and west first. Then set out the political, social and cultural context for the play of the Taiwanese modern poetry in 80's.Chapther 3 indicates that the modern poetry use such skills as the image, metaphor, association etc, which are exactly rhetorical play ; and further, poets also play the formal game greatly on the form.The concrete poetry （圖象詩）with calligraphic arrangements makes the poetry watchable or audible, even abandons the tie of the form wonder to imitate by parody or textual collages so eventually overturning the intended form play. Besides, modern poets makes use of various medium material to combine, enabling the modern poems not only fixing on the paper, but also becoming the action art as a kind of poetry. Chapther 4 is about the characteristics of the modern poetry play.The modern poetry uses the appearance of the outside worlds as the object of being imitated. The object that the modern poetry expressed also conceals meaning in the poetry in the meantime, endowing the poem’s creation a similar quality of riddle.But figuring out the presentation purely than the riddle makes it more puzzling. On the other hand, since 80’s, modern poetry is not only performing a makeup, but also reiterates makeup again and again and eventually breaks the limit of signifer and signified.They play around freely, no longer pursue the fixed meanings and standard answers. For example, some poems are to be presented with the examination paper form.Because the texts are free, it make the poetry appear like chinks among each complicated network.It’s attractive to us that these chinks are both hidden and presentational. In chapther 5, we discuss a few subjects of the play meaningful in Taiwanese modern poetry since 80's. The play by the classic literatures,fairy stories, and myths is a topic first. Now that it is a play, but isn’t methodical and scrupulous rewriting of classic works, fairy stories. In the play of these modern poems, they are already shelved and forgotten which are just preachment topics in the foretime. For venting the play impulsion, poets adapt those traditional literary reference, fairy stories, parables, and the myth stories which had been fixed for rewriting. It’s one of ways they play, and liberates readers from those dogmas. We also analyze and discuss contemporary poets for their viewing angles backwards in time. In poet's style of writing ,the post modern social views become a bottomless chessboard game. Because of changing the feature of the play, the present -and - answer poetry（贈達詩）mutually resolves the hard distance feeling of modern poetry and becomes intimate with each others. The overturn and play of the younger poets to elder poets make poetry of the misreading to be filled with creativity. Chapter 6 is a conclusion, summarizing is five chapters, and putting an open thought toward the play of the Taiwanese modern poetry since 80's
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Forsyth, E. C. (Elliott Christopher) 1924, and E. C. (Elliott Christopher) 1924 Forsyth. "[Submission for the degree of Doctor of Letters]." 2006. http://hdl.handle.net/2440/38223.
Full textAbstract:
Title supplied by cataloguer from accompanying Statement of submission.Includes bibliographical references (p. 451-467) and index.
Has accompanying Statement of submission letter and application for candidature which includes a list of other publications by the author and details of works proposed for the submission.
2 v. :
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Published texts submitted for doctorate are in French.
Thesis (D.Litt.)--University of Adelaide, School of Humanities, Discipline of European Studies and Linguistics, 2006
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CHIH, LIU HSING, and 劉幸枝. "Exploration of Su Shih’s Descriptive and Play Poetry and Essay in Kuang Tung." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/81231039975294310984.
Full textAbstract:
碩士玄奘大學
中國語文學系碩博士班
99
The dissertation explores the descriptive and play poetry and essay content in Su Shih’s late years during his staying in Kuang Tung period and is called “Exploration of Su Shih’s Descriptive and Play Poetry and Essay in Kuang Tung”. Chapter I “Introduction” first describes the research motive and purpose of the dissertation, outlines the research category and discusses its research text. Chapter II “Chinese Landscape and Descriptive and Play Poetry and Essay” makes a periodization exploration and induces the artistic feature and literature implication of the descriptive and play poetry based on the “descriptive and play” content and the descriptive and play poetry and essay development of the Chinese landscape. Chapter III “Su Shih’s Life and His Creation during Kuang Tung Period” first makes an analysis of wild Kuang Tung where Su Shih is relegated, the era context then, political atmosphere, and personal attitude. Chapter IV “Creation Content of Descriptive and Play Poetry and Essay during the Kuang Tung Period” aims at the text content of the descriptive and play poetry and essay during Su Shih’s Kuang Tuan period to arrange and induce. The content of Su Shih’s descriptive and play poetry and essay has not only the objective scenery description but also plentiful humanity written wherein. Chapter V “Creation Implication of Descriptive and Play Poetry and Essay during Kuang Tung Period”: the author has a discussion based on the creation implications behind Su Shih’s descriptive and play poetry and essay, including three parts of the artistic style, life though and achievement value. Finally, the “conclusion” aims at the descriptive and play poetry and essay during Su Shih’s Kuang Tung period to conduct a general review and to quote the comment of every school to indicate that the works during this period of time is the realization of Su Shih’s life and that the words revealing the true disposition are where the literature value occurs.