Dissertations / Theses on the topic 'Poem'

En text om frånvaro och glömska som alternativ metod i skapandet. Baserad på de 26 ord som dikten Blackout poem består av, vilka relaterar till en minneslucka, skriven av Gideonsson. Med följande till texten är en 10" vinyl som innehåller 4 spår skapade av Gideonsson från 2010-2013 som relaterar till temat.
[I examensarbetet ingår utställningen "Instead of a tick, I went for a thump":] Utsällningen består av två stycken ljudverk vilka båda behandlar ett sorts tidsföde.\r\n\r\nInstead if a tick, I went for a thump består av två metronomer som går in och ur synk  genom den ena metronomens defekt. Deras intergrerade ljud transformeras till ett djupt bas beat som ljuder i lokalen och kan upplevas fysisk, speciellt när man sitter på bänkarna i rummet. \r\n\r\nBlackout III är en performativ ljudinstallation som består av tre rullbandare där ett magnetband löper i en sammanhängande loop. Från början ett tomt band som sedan regelbundet fylls på med sonisk information. Ljudet består av min  röst som räknar från 1 och uppåt. Detta spelas in på ena bandaren samtidigt som de andra bandarna återger vad som just spelats in. Rösten återkommer och förföljs. Material: Metronomer, rullbandare Teknik: Ljudverk, performance

Utställningen är starkt intergrerad med essän, vilken även fanns att tilgå i ett exemplar på utställningen, och vinylen fanns för lyssning,

The thesis traces the history of the film poem as a concern and formal strategy within artists' film traditions over the last one hundred years. Via a theoretical framework (that includes Russian Formalist literary poetics, experminetal film studies, critical theory and linguistics) the investigation reveals and explicates what connects the ways different practitioners have synthesised the two terms "film" and "poem" and discusses the relevance of the "film poem" as a combinative term within a contemporary art context.

There has been an emergent trend in literary studies that challenges the tendency to categorize our approach to literature. This new investment in the idea of "world literature," while exciting, is also both theoretically and pragmatically problematic. While theorists can usually articulate a defense of a wider approach to literature, they struggle to develop a tangible approach to such an ideal. By examining Ezra Pound's critical approach to poetry, especially in The Cantos, an applicable visualization of a global approach to literature becomes more transparent.

My collection of poems expresses the complexities that exist beneath the surface of my life – my tongue, our bleak country, the politics of having a dark skin, my ancestors who speak to me in unexplainable ways, and the speech of nature – the wind, the sea, death, birds. It is in writing poems and songs that I make a space to be alive, a space to meet my ancestors and to say the unsayable. The poems move between the ordinary, the magical, the abject, and the spiritual, often expressing the contradictions that exist within life. The main influence on my poetry has come from music, from African jazz musicians such as Zim Ngqawana, Thandiswa Mazwai and Msaki Mvana. Literary influences have come from Spanish poets such as Juan Ramón Jiménez, whose strong imagery and short lines capture profound emotion, and from ancient Chinese poetry that moves in a fluid and minimal way. I have also been inspired by the African spirituality expressed in Mazisi Kunene’s poetry and the down-to-earth associative poetry of Mangaliso Buzani and Mxolisi Nyezwa.

Love Poem with Exiles is a collection of poems with a critical preface. The poems are varied in terms of subject matter and form. In the critical preface, I discuss my relationship with poetry as well as the idea that we inherit poems, and that if we are inspired by them, we can transform them into something new.

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he present dissertation is about the long poem as a genre problem and style by the epic and the lyric, having as object, to develop the theme, three long poems from Gerardo Mello Mourão: Susana, “Suíte do couro ou louvação do couro” (“The leather’s suite or the leather’s laudation”) e “O País dos mourões” (“The country of Mourões”). To start our research, we start from the concept that the history of the long poem was linked to the history of epic and medieval poem until the emerging of Romantism – when the epic united itself to the lyric one (HEGEL, 1997, p. 551). In fact, before Romantism, the long poem was actually the epic poem, cause the classic authors, and the ones before them, was attached to the form to make their poems and the traditional form for a long poem was the epic. The romantic poets broke with the classic formalism, cause they sing about the feelings they are having, wich means, there is an immersion of the subject on the poetic discourse and the used for is a consequence of this. After that, they can composse poems in anyway they want to, with the propose to express the feelings of the moment. Because of that, we consider the long poem, as we know, as a product of Romantism, created from the broke to the classic formalism.
O presente trabalho refere-se ao poema longo como um problema de gênero e estilo pelo épico e pelo lírico, tendo como objetos, para discorrer sobre o tema, três poemas longos de Gerardo Mello Mourão: Susana, “Suíte do couro ou louvação do couro” e “País dos mourões”. Para iniciar nossa pesquisa partimos da concepção de que a história do poema longo esteve vinculada à da poesia épica e medieval até o surgimento do Romantismo – quando o épico se imiscuiu de características do gênero lírico (HEGEL, 1997, p. 551). Na verdade, antes do Romantismo o poema longo era de fato o poema épico, pois os clássicos (ou seja, os poetas do Classicismo) e os que os precederam prendiam-se à forma para a feitura de seus poemas e a forma tradicional para um poema longo era o poema épico. Os românticos rompem com o formalismo clássico, pois cantam o sentimento que têm, ou seja, há uma imersão do sujeito no discurso poético e a forma usada é uma consequência dessa imersão. A partir daí, eles passam a compor poemas da maneira e na forma que lhes convenha, com o único objetivo de expressar o sentimento a que são acometidos no momento. Por esse motivo, consideramos que o poema longo, como o conhecemos na contemporaneidade, é um fruto do Romantismo, criado a partir do rompimento com o formalismo clássico.

En la teoria i la història de la literatura a Espanya no existia fins ara el concepte ni la consciència del poema digressiu com a forma literària pròpia. La dissertació és una monografia de dita forma literària i afirma rotundament la pertinença a ella de quatre obres seleccionades. Beniowski serveix de referent paradigmàtic. Un corpus consistent en quatre textos permet estendre l’anàlisi simètricament a l’àmbit polonès i espanyol, i equilibrar les seves conclusions. S’aprofiten les constatacions dels investigadors polonesos i es transposen al terreny espanyol, per tal de provar l’analogia que justifica el trasllat del concepte. Al 1840, any al voltant del qual es composen les obres, el romanticisme espanyol no pot anomenar-se tardà. No obstant, Espronceda, a El diablo mundo, accelera la maduració del subjecte romàntic. Contràriament a la consideració de nombrosos crítics, no es tracta de quelcom accidental en el camí del romanticisme espanyol, sinó de la seva enèrgica afirmació en el camp del subjecte i de l’expressió poètica. Al no encarar l’obra com a poema digressiu, la crítica no va valorar el que la dissertació entén com a major fita esproncediana: un subjecte irònic veritablement romàntic, transcendent del subjecte-tipus de la seva creació anterior. A més, El diablo mundo uneix el subjecte al llenguatge, assolint una visió existencial i epistemològica plena. La dissertació defineix i comenta la forma poètica en qüestió, així com altres formes i conceptes (ironia, fragmentarisme, digressió….), necessaris per tal de comprendre el seu caràcter policèntric, el seu estil, la posició del narrador i el constant repte al lector i a la convenció. El paper de la digressió és altament paradoxal, al convertir la ruptura en fonament de la construcció del text. La tesi dedica un ampli espai a les instàncies textuals del subjecte, el narrador i el lector, i a l’eix metaliterari del poema. El poema digressiu representa els aspectes vitals del romanticisme, a l’abastar la totalitat de l’evolució del subjecte romàntic, així com la de la lírica i l’èpica romàntiques. El poema i el seu narrador constitueixen un catàleg i un emblema de la transformació romàntica en els camps mencionats. La personalitat irònica no és gens menys característica que el tòpic del poeta-vat, el rebel, l’amant, etc. El significat del poema en el mapa literari excedeix el d’una forma d’escriptura. Consisteix en una unió extraordinària de la capacitat creadora i crítica. Gràcies a això, representa la dinàmica de la creació literària, la dialèctica del pensament i el concepte existencial romàntic. Per la seva doble trajectòria creadora-crítica, instaura solucions atrevides i les anul·la, sense mai minvar la posició dominant del narrador. El poema digressiu és la forma més radical de l’escriptura romàntica, sent el seu context i el seu punt de partida la maduresa del romanticisme. També és portador del postulat de l’autenticitat de la literatura, avançat pels primers romàntics. A saber, la tradició literària no es basa en reprendre elements o conceptes del passat, sinó en reprendre el seu significat en el seu propi temps. Aquest enteniment de la tradició fomenta el concepte de la modernitat de la literatura en totes les èpoques. Allò original sempre està vinculat a allò autèntic; i un art autèntic sempre és modern, sempre és testimoni del seu propi temps. Aquesta és la gran lliçó dels romàntics: una idea que van pressentir i verbalitzar des de les primeres albors de l’època i que, en la maduresa de la mateixa, es va articular en el poema digressiu. Per altra banda, el romanticisme mostra clarament que el moment culminant és el crític. El potencial creatiu excepcional del romanticisme es fonamenta en un pensament lúcid i això es trasllada al discurs irònic. El poema digressiu, emblema de la ironia romàntica, constitueix així mateix un compendi poètic de l’època.
En la teoría y la historia de la literatura en España no existía hasta ahora el concepto ni la conciencia del poema digresivo como forma literaria aparte. La disertación es una monografía de dicha forma literaria y afirma rotundamente la pertenencia a ella de cuatro obras seleccionadas. Beniowski sirve de referente paradigmático. Un corpus consistente de cuatro textos permite extender el análisis simétricamente al ámbito polaco y español, y equilibrar sus conclusiones. Se aprovechan las constataciones de los investigadores polacos y se transponen al terreno español, para probar la analogía que justifica el traslado del concepto. En 1840, año alrededor del cual se componen las obras, el romanticismo español no puede llamarse tardío. No obstante, Espronceda, en El diablo mundo, acelera la maduración del sujeto romántico. Contrariamente a la consideración de numerosos críticos, no se trata de un accidente en el camino del romanticismo español, sino de su enérgica afirmación en el campo del sujeto y de la expresión poética. Al no abordar la obra como poema digresivo, la crítica no valoró lo que la disertación entiende como el mayor logro esproncediano: un sujeto irónico verdaderamente romántico, trascendente del sujeto-tipo de su creación anterior. Además, El diablo mundo une al sujeto al lenguaje, logrando una visión existencial y epistemológica plena. La disertación define y comenta la forma poética en cuestión, así como otras formas y conceptos (ironía, fragmentarismo, digresión...), necesarios para comprender su carácter policéntrico, su estilo, la posición del narrador y el constante reto al lector y a la convención. El papel de la digresión es altamente paradójico, al convertir la ruptura en fundamento de la construcción del texto. La tesis dedica mucho espacio a las instancias textuales del sujeto, el narrador y el lector, y al eje metaliterario del poema. El poema digresivo representa los aspectos vitales del romanticismo, al abarcar la totalidad de la evolución del sujeto romántico, así como la de la lírica y la épica románticas. El poema y su narrador constituyen un catálogo y un emblema de la transformación romántica en dichos campos. La personalidad irónica es nada menos característica que el tópico del poeta-vate, el rebelde, el amante etc. El significado del poema en el mapa literario excede el de una forma de escritura. Consiste en una unión extraordinaria de la capacidad creadora y crítica. Gracias a ello, representa la dinámica de la creación literaria, la dialéctica del pensamiento y el concepto existencial romántico. Por su doble trayectoria creadora-crítica, instaura soluciones atrevidas y las anula, sin mermar nunca la posición dominante del narrador. El poema digresivo es la forma más radical de la escritura romántica, siendo su contexto y su punto de partida la madurez del romanticismo. También es portador del postulado de la autenticidad de la literatura, adelantado por los primeros románticos. A saber, la tradición literaria no se basa en retomar elementos o conceptos del pasado, sino en retomar su significado en sus tiempos. Tal entendimiento de la tradición fomenta el concepto de la modernidad de la literatura en todas las épocas. Lo original siempre está vinculado a lo auténtico; y un arte auténtico siempre es moderno, siempre es testigo de sus tiempos. Esta es la gran lección de los románticos: una idea que presintieron y verbalizaron desde los albores de la época y que, en la madurez de la misma, se articuló en el poema digresivo. Por otra parte, el romanticismo muestra claramente que el momento culminante es el crítico. El potencial creativo excepcional del romanticismo se fundamenta en un pensamiento lúcido y ello se traslada al discurso irónico. El poema digresivo, emblema de la ironía romántica, constituye asimismo un compendio poético de la época.
One of the major aims of this project has been to propose the term poema digresivo for Spanish Romantic poetry. Poema digresivo, based on the Polish poemat dygresyjny, seems more accurate than the English ironic poem, since it indicates one of the most important features, digression. This dissertation focusses on this form, and it concludes that the selected Spanish texts exemplify it. Beniowski serves as a paradigmatic point of departure. The choice of the four texts enables symmetry and balanced conclusions as regards Polish and Spanish literature. The thesis draws on the achievements of Polish researchers and transfers them to the Spanish domain, demonstrating the analogy that legitimates the transfer of the term poema digresivo. Spanish romanticism of around 1840, when all four poems were written, cannot be called late, but Espronceda accelerates the maturing of the Romantic subject. El diablo mundo, though, is not an accident in the history of Spanish romanticism, as many critics have considered, but its energetic affirmation, through which the subject and the revolution of poetical expression are confirmed. Given that the text was not considered a digressive poem, many critics disregarded what the dissertation indicates as Espronceda’s major achievement: the representation of the genuine Romantic ironic subject. Besides, El diablo mundo binds the subject to the language; by operating on these two planes, it reaches a full existential and epistemological vision. This dissertation defines concepts (irony, fragmentarism, digression) necessary to understand such aspects of the digressive poem as its polycentric character, its style, the position of the narrator and the permanent challenge to the reader. The role of the digression proves paradoxical, making rupture a fundamental element of the text’s construction. The poem’s dialectic shows the richness of contradiction in this literary form. Considerable space is devoted to the textual instances of the subject, the narrator and the reader, and to the metaliterary aspects of the poem. The digressive poem shows perfectly the vital aspects of romanticism, illustrating all the transformations of the Romantic subject and the evolution of Romantic lyrical and epic poetry. The poem and its narrator constitute the catalogue and the emblem of Romantic mutations of the aforementioned components. The ironic personality turns out to be as specifically Romantic as the topos of the bard, rebel or lover. The significance of the digressive poem for Romantic literature goes beyond the importance of a single literary form, being a brilliant union of creative and critical skills. In this way, it reproduces the dynamics of Romantic literary creation, the dialectics of thinking and the Romantic concept of human existence. Thanks to the double creative–critical trajectory, the ironic poem creates bold solutions and questions them, without reducing the narrator’s dominating position. The ironic poem is the most radical form of Romantic writing, contextualized in the mature phase of romanticism. It also articulates the postulate of the authenticity of literature advanced by the first Romantics, for whom literary tradition was not about taking motifs or ideas from the past, but about reconstructing and reintroducing the meaning those elements had in their time. Such an understanding of tradition allows the literature of all periods to be perceived as modern. The great lesson of the Romantics is that originality is always linked to authenticity and authentic art is always contemporary; it is always a participant and a testimony of its time. Also, romanticism clearly shows that the moment of climax is one of crisis. Its exceptional creative potential is based on lucid thought; these aspects are translated within the ironic discourse. Thus the digressive poem, the emblem of Romantic irony, constitutes a poetic compendium of romanticism.

Thesis (Ph. D.)--University of Missouri-Columbia, 2008.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on June 8, 2009) Vita. Includes bibliographical references.

Machinist in the Snow is a narrative long poem, much like a novel in verse that deals with the loss of memory and environmental rebirth. In the book, the narrator exiles himself into a frozen nature and attempts to return the frozen wasteland into its former, flourishing environment. The poems take on the memoric form of memory in a wide range of poetic forms from the traditional sonnet, haiku, or villanelle, to a scattered projective verse. In the center of these poems is an attempt to mimic the mind in the way that it shifts, in its moments of clarity, and in its attempt to dissect and understand the surrounding realities. Through logic patterning, deep image, and introspection, these poems are meant to give insight into what it means to be human in the digital age and to highlight the dwindling connection to the pastoral that is so deeply rooted in American society.

A presente dissertação toma como propósito as obras poéticas de Ricardo Reis e de Paul Celan, acentuando a sua tarefa de originar uma poesia de risco, que experiencia a linguagem e a ameaça. Nesse sentido, a pesquisa desenvolvida reconhece a singularidade da leitura imposta pelos poemas. Tal fato estabelece algumas especificidades da leitura, sem pretender com elas decifrar qualquer conteúdo nos poemas escolhidos. Dessa maneira, esse trabalho recolhe, coleciona e elege premissas de compreensão derivadas de outros ambientes literários. Assim, a hipótese fundamental sustentada ao longo da dissertação expõe o próprio desempenho da leitura como exercício de escrita, sem recorrência a qualquer facilidade contextual, historicista ou formalista; ou melhor: o que é ler Ricardo Reis pós Paul Celan, tomando como elemento básico a própria experiência de risco da leitura
The present dissertation takes as purpose Ricardo Reis and Paul Celans poetic works, emphasizing their task of originating a poetry of risk, which experiences and threatens language. In this sense, the research developed acknowledges the singularity of the reading imposed by the poems. This fact establishes some specificities of reading, which do not intend to decipher any content in the chosen poems. In this way, this work guards, collects and elects premises of comprehension derived from other literary environments. Thus, the fundamental hypothesis sustained throughout the dissertation exposes reading execution itself as exercise of writing, without recurring to any contextual, historicist or formalist easeness; better: what is to read Ricardo Reis after Paul Celan, taking as basic element the risk experience of reading

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 1999.
Includes bibliographical references (leaves 77-80).
Although metaphor is generally recognized as an integral component of everyday language, very few computational systems capable of understanding metaphoric utterances exist today. This thesis describes one approach to the problem and presents PoEM, a prototype system which recognizes and interprets metaphoric descriptions of emotions and mental states in single-sentence input. Building upon previous work in knowledge-based metaphor comprehension, this research adopts a goal-driven approach which assumes each metaphor is selected by a speaker for its aptness at serving a particular communicative goal. To identify these goals, an empirical analysis of metaphor distribution in song lyrics was performed, and typical communicative intentions and surface patterns were identified for the top five most frequently occurring metaphor groups. These intentions and surface patterns have been implemented as a set of metaphor templates and interpretation rules in PoEM, using the WordNet lexical database for supplemental semantic information. Evaluation of PoEM demonstrates fairly high accuracy but low recall.
Laurie Satsue Hiyakumoto.
S.M.

O presente trabalho propõe uma tradução integral e anotada da obra epigramática do poeta latino Marcos Valério Marcial (c. 40 - c. 105 d.C.). Para tanto, propõe um modelo de compreensão do texto que envolve sua análise desde as camadas pré-textuais, como a constituição do gênero praticado pelo autor ou a obra de seus modelos, passando por um recenseamento dos leitores para chegar finalmente a um modelo sistematizado de tradução poética e de ferramentas de suporte à leitura
This paper proposes a complete and annotated translation of the epigrammatic work of the Latin poet Martial (c. 40 - c. 105 AD). To achieve it, a model of text comprehension is suggested, involving the analysis from the pre-textual layers, such as the constitution of the genre practiced by the author or the poets he uses as models, through a census of the readers to finally get to systematized models for the poetical translation and the reading tools

The poems in this collection are, in a sense, experiments in the employment of voice, wordplay and mythopoetic structures. The purpose, in so much as this collection can be said to have a purpose, is to celebrate the alienation and absurdity common to modern day life by depicting and dramatizing their connection with the culture we have inherited from classical tradition.

Thesis (M.A.)--West Virginia University, 2000.
Title from document title page. Document formatted into pages; contains iv, 32 p. Vita. Includes abstract. Includes bibliographical references (p. 30-31).

Perioperative registered nurses (RNs) are vital to the provision of safe patient care for those undergoing invasive and surgical procedures within acute care settings. Unrealistic transition-to-practice (T2P) expectations for novice RNs (newly licensed and experienced RNs new to perioperative nursing) have resulted in significant turnover and attrition rates as high as 45%. A T2P program, known as the Perioperative Orientation, Education, and Mentoring (POEM) program, was developed to address attrition and turnover through mentoring and professional development. The POEM program was a pilot program implemented at a large academic medical center. An evaluation tool known as the Surgical Skill Assessment Tool was developed to evaluate the POEM program. A preintervention score of 56 and a postintervention score of 237 demonstrate an increase in experience, skill, and knowledge acquisition. Content data analysis revealed themes and subthemes from each of the 2 focus groups as well as recommendations from the quality improvement (QI) project leader and project coleader. The recommendations include developing a nurse extern program, advertising and promoting perioperative nursing to local nursing schools, supporting the clinical advisor program, encouraging involvement in the local Association of periOperative Registered Nurses (AORN) chapter, and mentoring novice RNs and RN clinical advisors. The need to evaluate strategies for improvement, recruitment, and retention is critical to sustain the perioperative nursing workforce. Further research is necessary to refine the POEM program and to understand the role of professional mentoring in facilitating a smooth T2P for novice nurses entering perioperative services.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
O trabalho apresenta-se a propósito da obra poética que assina Ricardo Reis, sobre a qual se lança a sugestão de que é alçada pela indiferença. Tal indiferença é entendida como um modo pelo qual a linguagem mantém-se em absoluta precedência, preservando sua condição divina e sua impessoalidade. A presente pesquisa propõe que a indiferença deve ser a maneira pela qual Ricardo Reis assinala o cumprimento do fim da arte, imitando a natureza enquanto pura e inapreensível poiesis, força produtora concebida como instância à indiferença de si, isto é, indiferente a si mesma e ao que realiza. Supõe-se que Ricardo Reis, submetido à indiferença, resguarda o poema na esfera antecedente, divina e impessoal da linguagem ao assumir-se, antes de ser poeta, como verso-assinatura autorizado pela obra de arte cuja assinatura primeira é poema. Portanto, através de uma leitura reflexiva debruçada sobre alguns poemas escolhidos, pretende-se compreender como a indiferença norteia a tarefa artística de Ricardo Reis, levando em conta que a linguagem precede, inclusive, o próprio ato de escrever versos
This dissertation aims at analysing Ricardo Reis's poetical work based on the concept of indifference. Such indifference is understood as one way in which the language remains in absolute precedence, preserving its divine status and its impersonality. This research suggests that indifference might be the path that Ricardo Reis points out to fullfill the purpose of art, imitating nature as a pure and intangible poiesis, a productive force conceived as a domain indifferent to itself and to what it accomplishes. It is assumed that Ricardo Reis, subjected to the indifference of language, keeps the poem in a previous divine and impersonal sphere of language by taking on, before being a poet, a verse-signature authorized by the work of art whose first trace is poem. Therefore, through a reflective reading of some chosen poems, this study aims at understanding how indifference guides the artistic task of Ricardo Reis, taking into account that language precedes the very act of writing verses

Особливе місце у творчості Р. Кіплінга займає вірш "IF". Він являє собою своєрідний заповіт письменника, звертання до всього людства, до поколінь сучасних і прийдешніх. При цитуванні документа, використовуйте посилання http://essuir.sumdu.edu.ua/handle/123456789/16710

O desenvolvimento da competência leitora e escritora nem sempre ocorre na escola de modo pleno. Desse modo, os níveis de letramento, no ensino fundamental II, avançam lentamente. O estudante nem sempre consegue utilizar os recursos linguísticos para escrever textos e/ou interpretá-los. A presente pesquisa justifica-se pela intenção de sugerir atividades didáticas que de fato promovam o desenvolvimento das competências em leitura e escrita. Assim, foi estudado o letramento mediante as propostas que empregam os gêneros textuais como estratégia didática no ensino de língua materna. Por meio da elaboração e aplicação de atividades, o objetivo é verificar se a leitura e comentários orais decorrentes, bem como as atividades de escrita, auxiliam o estudante (sexto ano) a confeccionar poemas. A hipótese estabelecida é a de que uma proposta fundamentada na leitura (silenciosa, compartilhada) e nas rodas de conversa corrobora com a apropriação das características do gênero poema e, por conseguinte, viabiliza indivíduos agentes, que conseguem escrever textos com autonomia. A metodologia desta pesquisa organizou-se em cinco etapas: percurso histórico dos processos de aprendizagem em Língua Portuguesa, apresentação do gênero poema e suas especificidades, aplicação da proposta didática, coleta de dados (textos escritos pelos alunos individual e coletivamente) e, por fim, análise qualitativa dos dados. Fundamentou esta pesquisa os conceitos de letramento (Antunes, 2009; Kleiman, 1998, 2007; Rojo 2004, 2005; Soares 2002, 2004), os conceitos de dialogismo no texto literário (Bakthin, 2016; Fiorin, 2006), os conceitos do gênero poema (Bosi, 2000; Goldstein, 1999, 2006, 2007; Martins, 2008), os conceitos de agência (Bazerman, 2006), os conceitos de autoria (Possenti, 2007; Tfouni, 2015) e os conceitos de éthos (Amoussy, 2011; Discini, 2014). Concluiu-se que uma proposta didática bem fundamentada conduz o estudante a apropriar-se das características do gênero e a escrever poemas com traços de autoria.
The development of the reading and writing competences not always happen fully at school. Thus, levels of literacy at Middle School in Brazil, progress slowly. The student not always can use the linguistic resources to write texts and/or decode them. This research justifies itself through the intention of suggesting teaching activities, that, indeed, promote development of competences in reading and writing. Therefore, it has been studied the literacy through proposals that apply the textual genres as didactic strategies in the mother tongues teaching. By the means of elaborating and applying activities, the aim is to verify if the reading and resulting oral comments, as well writing activities, aid the student (6th grade) to write poems. The established hypothesis is that a proposal based on the reading (silent, shared) and on chat groups support the appropriation of the poem features and consequently facilitates agent individuals who can write texts with autonomy. The methodology of this research is organized in five steps: historical path of the Portuguese language learning process, presentation of the poem genre and its specificities, an application of the didactic proposed, gathering of data (texts written by students individually and collectively), and, finally, the quality analysis of data. Concepts of literacy based this research (Antunes, 2009; Kleiman, 1998, 2007; Rojo 2004, 2005; Soares 2002, 2004), concepts of dialogism in literary text (Bakthin, 2016; Fiorin, 2006), concepts of poem (Bosi, 2000; Goldstein, 1999, 2007; Martins, 2008), concepts of agency (Bazerman, 2006), concepts of authorship (Possenti, 2007; Tfouni, 2015) and concepts of ethos (Amoussy, 2011; Discini, 2014). To conclude, a didactic proposal well based conducts the student to appropriate oneself of the genre features and to write poems with traces of authorship.

Symphonic Poem New Life is a composition in one movement for orchestra and yang-chin. The work is divided into six continuous sections. It is written in resultant form which is a cumulative process by which all major musical elements return at the end of the work. The tritone is the prominent interval used throughout the piece. Some graphic notation is also employed. The work has a performance time of approximately 13-15 minutes. The yang-chin is a Chinese string instrument similar to the Hungarian cymbalon, which is played with a pair of small beaters. These instruments have similar ranges, and either instrument can be used in this work.

Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.
Advisor: Dr. Joel Hoffman. Title from electronic thesis title page (viewed Nov. 15, 2007). Includes abstract. Includes bibliographical references.

碩士
佛光大學
文學系
100
Abstract: The first chapter discusses the motivation and purpose, then do a preliminary review of existing research literature of the poem, the delineation of the scope of the study's own desire. Jie Zhu discusses the research method, in the final direction of the research to the chapters listed in order. The second chapter, start with the poem, talk about their religious background, discusses the origin and evolution of poem, to the last Confucian, Buddhist, Taoism fusion process of development. An overview of the drawing of lots procedure, in order to enable readers to understand the rituals and processes of drawing lots. Then the third chapter, the external form of the poem text framework for discussion from the first analysis Guandi sign in the form of signed and Guanyin, such as: words, sentences, the amount of. Then explore the question of sign sign both of another of the signed title and the Goddess of Mercy, Guan Di sign, signed title likely to be missing the signed title and the original, both in tabular form to show its legitimacy. Followed by analysis on the sign of the four versions of the title, the same in allusion selection on Offices; and the division of the signed title story character, occupation, gender, property, etc., and organize the plot overlapping the signed title story characters. Specifically discussed in chapter two sets poem sign solution project What is the difference, which breakdown is divided into content. The fourth chapter focuses on, the focus in the poem the poems. In addition to analyzing the literature, the syntax is, rhetorical skills and the use of rhyme, tone ze; make private copies of the spreading process, the occurrence of variations in and sign a particular poem, special terms, is also discussed in this chapter the focus. Chapter V is on the whole in terms of first order listed the Guandi sign, and Guanyin signed positive, and the other the story of the signed title source; then analyzed to check the title, to sign the text and the poem allusions story, the relationship between the three phase cooperation. Finally, make a differences and similarities both with typical analysis and comparison, and discusses their artistic techniques. The last chapter, Guandi and Guanyinshan poem research is divided into four parts to be explored. First individual exposition of issues related to the generation of two sets poem with the author, and discusses the signed title and sign the generation of poetic allusions so the story and poem ambiguous features.

碩士
國立新竹教育大學
人資處語文教學碩士班
96
Abstract Do Long-chen is an elementary school teacher and also one of the few experts on both children’s poem creation and teaching in Taiwan. His promotion on children’s poem teaching has had a great influence on Mandarin-speaking areas. Such a children’s poem writer obviously has his professional backgrounds and styles. The purpose of the study is to investigate the teaching process from Do Lung- chen’s children poems. The methodology was qualitative approach including classroom observation and in-depth interviews from September 2005 to December 2007. Data were collected and analyzed through text analysis to examine the application of Mr. Do’s teaching concepts and styles to the actual classroom setting. The procedures of the methodology contained connections between children’s poem writing process and the teaching guidance as well as contexts from Mr. Do’s teaching concepts and styles. The results were shown as follows: 1. The teaching procedures of Mr. Do’s children poems consisted of appreciation, practice, imagination, and thinking. He designed teaching materials from his creating experience, which combined literary theories into his teaching. 2. The students usually followed the steps of the teacher’s. The abundant materials from the pre-writing activities made the students more familiar with the poem creation. Pre-writing activity means a lot to students since it modifies and transforms their concepts in creative writing. 3. The connections between Mr. Do’s children poem creation and teaching were: life experience and life attitude. These two elements manifested his teaching styles of creativity and pursuit of happiness. His diversity and insistence in poem teaching created students’ happy learning and their scope of vision. Lots of insights were gained from the study. During the research, knowledge has been enriched, teaching has been re-activated, and life has been enlightened. It is hoped that the study serves to influence more teachers and students interested and devoted in children’s poetry teaching and creating. Moreover, it is expected the enthusiasm and insistence from Mr. Do’s teaching will be leading the way to readers and educators.

碩士
淡江大學
中國文學系碩士班
102
Yin Ling is Taiwan contemporary women poetess. She born in 1945 in Vietnam .She accepts a multicultural because when she was young she influence of Chinese culture; France culture and Vietnamese culture. She once experienced Vietnam war. She family suffered all kinds of hardships during the war,the experienced change her life.Yin Ling work describes many wars in poem. She loves travel to see and experience different parts of the country.War and tourism are the main topics of poem.This thesis focusing research Yin-Ling war poem and travel poem for understand her creations meaning. There are five sections of the stesis.First are the motives and aim of the study,also shows the necessity of the research and expected result. Chapter 2 is "Yin Ling life experience and creations process", investigate a female poet under the multicultural background.Her life career is a literature material after experience war and travel.Chapter 3 for"war poem- remember to transfer a writing to deduce from the war signal", The content mainly discuss the Yin Ling war poem in the description distinguishing feature for containing, among them include the home country of war scene, war years , also inquire the meaning of verse and war feeling in the Yin Ling war poem.Chapter 4 for"Cross over the traveller of the territory area in time to write", the investigation Yin Ling tour region romantic feeling in the poem, travel the content of poem and express of life meaning. Chapter 5 is a conclusion .

碩士
義守大學
應用英語學系碩士班
99
In terms of literary translation, the criterion that a translator searched for - the accuracy of original composition or the signified equivalence - poses a dilemma. Particularly, in the poetry translation, each word holds certain numbers of implicit meanings and senses; therefore, the canon of accuracy cannot be of any help to reproduce and reconstruct the essence of the source text. This is not to imply that accuracy is insignificant but to propose the concept of creativity application to uncover the veil of poetic translation. For the purpose of re-establishing the intangible relationship between reader and writer, in this paper, the Taiwan modern poems from Xi Mu-rong are taken as source texts exemplifying that Chinese, which symbolizes meanings without the limitation of tenses, can be decoded and recoded into English, a temporal framework, through applying translator’s creativity to experiment with different kinds of translation theories and practices. To achieve this purpose, the poetic TT is provided with Chinese pinyin, word by word translation, and the multi-dimensional TT, is also presented with written text and multi-media version, so as to elaborate an innovative vision of literary translation. Poetry reading itself is a process of self-reflecting, self-relating and fun; therefore, we need to re-create, not another text, but another reading process, parallel to the original one. Governed by this thought, we designed various versions, including the hard copy 1 and 2, and e-version 1, to demonstrate the essence of poetry translation can be creative fertilizing, and personal interpretation to hammer on one’s ego, and can never be frozen into a specific form, or a set of correspondent words. Through the experimental methods, we create a multi-dimensional poetic situation for the source poems to live in. The result manifests that the poetic translation cannot be judged based on the concept of one-to-one correspondence. The discussion of juxtaposition of ST and TTs helps to re-define literary translation as a creative activity.

碩士
玄奘大學
中國語文學系碩士班
95
This thesis probes into becoming attached to with the past dynasties poet of China of the moon. In the Chinese classical literature, ' moon ' have abundant and changeable appearance, to hit target that emotion find sustenance, people of Chinese. Li PO has the moon poems of 342 in all, is divided into and missed, recalled with deep feeling and shown one's high ideals. The moon in poem of Li PO, describes in accordance with three respects of moonlight, appearance and position of the moon. In addition, this thesis carries on the discussion on contents and forms of Li PO's the moon poem. Li PO has shown the limitlessly vast and mighty poem feeling in poem, appear poet romantic bold self-image, through fine and smooth feeler and realistic environment being sympathetic, depict the fanatic mood of poet's heart with complicated contradiction and inner world. In art, his grand imposing manner, blazing and bold and unrestrained emotion, enriching magnificent imagination, bold surprising overstates, fresh the natural languaging with pound, create the magnificent and colorful artistic image, has reached the artistic result that ' the pen leaves the infantile convulsion the rain, poem become and weep ghosts and gods ', thus shifted romanticism onto a new peak. Chant the situation using the method of the rhetoric actually in the monthly poem, explain and analyse the result taking shape in the poem of various kinds of rhetoric methods, is in the hope of understanding further that chants rhetoric art of the monthly poem. Whether of the method, cite among them appearing according to Shen teacher modest " rhetoric " listed 24 rhetoric proportioning high four figures of speech conduct probe into relatively. Metaphor, praising such methods of the rhetoric as decorations, transforming, antithesis,etc..

碩士
國立中央大學
資訊工程研究所
96
Tang poems refer to poems written during China Tang Dynasty. By this time, Tang poems became one important literature, providing a large amount of poets and poems. This paper presents a Tang poem recommendation system based on the poem ontology and artificial neural networks. First of all, the feature representation of a poem is based on the poem ontology information, rather than its author, form, and key words. Then, the self-organizing feature map algorithm is adopted to cluster Tang poems into several clusters. In our system, the database is consisted of 300 widely-known poems. Each poem is tagged with the poem ontology to reveal their information of themes. Our system not only provides a new way to cluster Tang poems but also several visual analysis tools for users to understand the characteristics of poem clusters. In this thesis, a new measure for calculating the similarity degrees among poems is proposed. Based on the measure, a new approach for clustering Tang poems into several different styles is developed. Experimental results demonstrated that poems could be clustered into 11 different styles. In addition, the performance of the proposed poem recommendation system was encouraging.