Dissertations / Theses on the topic 'Poetic reality'
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Dickerson, Brendhan Bailie. "Magical realism and subjective reality : an investigation of poetic symbolism and the development of related sculptures." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/13862.
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Bibliography: leaves 58-62.To meet the requirements for the Master of Fine Art degree at the University of Cape Town my intention was to develop a series of sculptural assemblages which address a sense of subjective or poetic reality, using symbolically resonant found and fabricated objects. The body of work is to be understood as a sculptural parallel to (but not illustrative of) Magical Realist literature, in which arcane phenomena are incorporated into a narrative in order to achieve just such a sense of subjective reality.
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Keim, Robert. "Words That Weave a Reality Reborn: Performative Language and the Theory of Poetic Translation." Youngstown State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1607547589681778.
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Sepúlveda, Jesús. "Toward a poetic of de-inhabitation /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3080597.
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Thesis (Ph. D.)--University of Oregon, 2003.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 166-175). Also available for download via the World Wide Web; free to University of Oregon users.
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SANTOS, JANAINA DE OLIVEIRA. "POETRY AS A LANGUAGE OF REALITY: THE POETIC REFERENCES OF PIER PAOLO PASOLINI AN IDEA OF ITALIAN DIALECTAL POETRY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=26951@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEm 1960, Pier Paolo Pasolini publicou pela editora Einaudi seu livro de ensaios poéticos, intitulado Passione e Ideologia. Essa obra reflete a relação afetiva e intelectual do autor com a poesia dialetal italiana. Partindo do recolhimento dos cantos dialetais feitos por folcloristas do Oitocento, tais como Pitrè, Tommaseo e Nigra, Pasolini elucubrou a poesia dialetal como a poesia popular italiana por excelência. Nesse sentido, pretende-se demonstrar como Pasolini, mediado pela leitura dos trabalhos dos críticos Benedetto Croce e Gianfranco Contini, promoveu um mapeamento das principais referências que justificariam as possíveis afinidades da poesia em dialeto com a poesia dita popular. Autores como Dante, Vico, Rousseau, Herder e Giovanni Pascoli foram mobilizados por ele dentre aqueles que pensavam a poesia como sendo a primeira linguagem entre os homens, sendo ela proveniente do vulgo e, sobretudo, como fruto de uma atividade sentida e imaginada.
In 1960, Pier Paolo Pasolini published by Einaudi publishing his book of poetic essays entitled Passione e Ideologia. That work reflects the emotional and intellectual relationship of the author with the Italian dialectal poetry. Starting from the gathering of dialectal songs done by folklorists of the Italian Oitocento such as Pitrè, Tommaseo and Nigra, Pasolini thought over the dialectal poetry as a popular Italian poetry par excellence. In this sense, we intend to demonstrate how Pasolini, refereed by reading the works of the critics Benedetto Croce and Gianfranco Contini, promoted a mapping of the main references that justify the possible affinities of poetry in dialect with a alleged folk poetry. Authors such as Dante, Vico, Rousseau, Herder and Giovanni Pascoli were mobilized by him among those who thought poetry as the first language of men, coming from the vulgar, and above all, as the result of a felt and imagined activity.
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Elnitsky, Svetlana. "The conflict of the lyric hero and reality in the poetic world of Tsvetaeva = Konflikt liricheskogo geroi︠a︡ i deĭstvitelʹnosti v poėticheskom mire T︠S︡vetaevoĭ." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=76527.
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The study has two main aims: it presents an overview of Tsvetaeva's poetic world and it analyses one of her major themes, that of the conflict between the lyric hero and reality.Close reading of Tsvetaeva's entire oeuvre reveals a system of invariant themes, motifs and their concrete manifestations; this system is hierarchically organized.
The study describes the structure of Tsvetaeva's artistic universe: its mutually opposed worlds ("this", non-authentic, and "the other", authentic) and its different types of characters.
Particular attention is given to the peculiarities of Tsvetaeva's lyric hero, notably intensity, the "two-fold nature", and the predilection for conflict. Analysis focuses on various forms of conflict of the lyric hero--with the world, with life, and with the self. This demonstrates the total disharmony of Tsvetaeva's universe.
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Baker, Jean Leslie. "Towards giving voice to internal reality : a study of the dialectic between internally and externally driven realities in the poetic of Anne Hébert /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/8286.
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Souza, Silva Patricia. "A Casa d’Heleno Godoy : présentation, critique et traduction." Thesis, Pau, 2018. http://www.theses.fr/2018PAUU1050/document.
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La maison est un lieu privilégié de l’intime, ayant des tonalités distinctes pour chacun. A Casa est un recueil de poèmes du poète contemporain brésilien Heleno Godoy, réunissant les aspects matériels de la maison par un langage objectif. En privilégiant la concréticité de cet espace, l’auteur propose au lecteur de bâtir son propre lieu intime. C’est une expérience poétique singulière, car en partant des images concrètes, le lecteur peut s’abstraire de la dureté du quotidien pour finalement l’envisager sous sa poéticité. C’est justement l’affrontement de la maison réelle par la poésie, qui permet au lecteur de se trouver dans une demeure qui ne se situe pas à l’extérieur, mais à l’intérieur de lui-même. Il s’agit effectivement d’un lyrisme de la réalité. Cette étude a pour objectif de présenter A Casa au public francophone, en apportant son exégèse ainsi que sa première traduction. Pour ce faire, la thèse comporte deux parties, ainsi qu’une proposition de traduction d’A Casa. La première partie situe l’auteur et l’œuvre dans leurs contextes, pour analyser ensuite le recueil choisi. La seconde partie traite du processus traductif de ce recueil, revenant sur les concepts de traduction, notamment celui de la traduction poétique, pour tenter d’en préciser le rapport entre la théorie et la pratique. Suit un commentaire détaillé des difficultés rencontrées lors de la translation de cette œuvre en français. Une version française d’A Casa conclut cette thèseA house is a privileged place for intimacy, offering distinct tones for everyone who looks at it. A Casa, by the contemporary Brazilian poet Heleno Godoy, is a collection of poems combining the material aspects of a house with an objective language. Privileging the concreteness of this space, the author proposes to the reader to build his own intimate place. It is a singular poetic experience because, starting from concrete images, the reader can abstract or distance himself from the hardness of everyday life to finally consider it under its poeticity. It is precisely the confrontation of the real house with poetry, which allows the reader to find himself in a house that is not outside, but inside himself. Indeed, it is a lyricism of reality. This study aims to present A Casa to the French-speaking public, bringing its exegesis as well as its first translation. To do this, the thesis is composed of two parts, plus a translation proposal of A Casa. The first part situates the author and the book in their contexts, then analyzes the chosen collection. The second part deals with the translation process of this collection, returning to the concepts of translation, poetic translation in particular, to try to specify a relationship between theory and practice. What follows is a detailed commentary on the difficulties encountered during the process of translating the work into its French version. Finally, the thesis makes a bilingual presentation of A Casa in its original Portuguese form and its French translation in its end
A casa é um lugar privilegiado do íntimo, possuindo tons distintos para cada um. A Casa, do poeta contemporâneo brasileiro Heleno Godoy, é uma coleção de poemas que combina os aspectos materiais da casa com uma linguagem objetiva. Ao privilegiar a concretude desse espaço, o autor propõe ao leitor de construir seu próprio lugar íntimo. É uma experiência poética singular, pois, a partir das imagens concretas, o leitor pode abstrair-se da dureza do cotidiano para finalmente reconsiderá-lo sob seu carácter poético. É precisamente o confronto da casa real com a poesia, que permite ao leitor de reencontrar-se numa residência que não está no exterior, mas dentro de si mesmo. De fato, trata-se de um lirismo da realidade.Este estudo tem como objetivo apresentar A Casa para o público de língua francesa, trazendo sua exegese, bem como sua primeira tradução. Para isso, esta tese divide-se duas partes, além de uma proposta de tradução de A Casa. A primeira parte primeiro situa o autor e a obra em seus contextos, depois traz análises inéditas sobre esse trabalho. A segunda parte trata do processo de tradução desta obra, retornando aos conceitos de tradução e de tradução poética, especialmente, para tentar especificar uma relação entre teoria e prática. Seguido de um comentário detalhado das dificuldades encontradas durante a tradução deste livro para a língua francesa. Finalmente, a tradução bilíngue de A Casa será produzida ao final da tese
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Procópio, Mercia Maria da Silva. "O lapidar da palavra na superfície de Uma faca só lâmina." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/14727.
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Made available in DSpace on 2016-04-28T19:58:51Z (GMT). No. of bitstreams: 1
Mercia Maria da Silva Procopio.pdf: 533019 bytes, checksum: 32c2afc6c1b510b1e7b925b5018c39ce (MD5)
Previous issue date: 2013-10-30Secretaria da Educação do Estado de São Paulo
The object of study in this dissertation is the poem "uma faca só lâmina" written by João Cabral de Melo Neto. It aims to get elements that compose the basis of the creation process in this poem, as well as analyze the role of images in the reality representation. The issue focuses on the discussion of a poetry which is built based on the refusal, in the poetic of negativeness based debugging and vacuum, which the view, hear and silence are part of the creation process of the poem. The theoretical and critical reasoning, which supports the work, is based on studies about the poetics of negativity, as, for instance, in the literary space Mallarmé, Maurice Blanchot (2011). The word and object representation supports in critical productions of João Alexandre Barbosa (1975), Benedito Nunes (2007), Marta Peixoto (1983), Solange Rebuzzi (1998). The poet's work presents a poetry laboriously architected. It is a poetry produced according to the calculation, in accuracy, specialy, in this poem, the accuracy of the cabralina poetic blade
O objeto de estudo desta dissertação é o poema Uma faca só lâmina , de João Cabral de Melo Neto. Tem como objetivos buscar elementos que compõem a base do processo de criação desse poema, assim como analisar o papel das imagens na apresentação da realidade. A problemática centra-se na discussão de uma poesia que se constrói fundamentada na recusa, na poética da negatividade, tendo como base a depuração e o esvaziamento, na qual o ver, o ouvir e o silenciar fazem parte do processo de criação do poema. A fundamentação teórico-crítica, na qual se apoia o trabalho, baseia-se em estudos acerca da poética da negatividade, como, por exemplo, em O espaço literário A experiência de Mallarmé, de Maurice Blanchot (2011). A representação palavra e objeto sustentam-se nas produções críticas, entre outras, de João Alexandre Barbosa (1975), Benedito Nunes (2007), Marta Peixoto (1983), Solange Rebuzzi (1998). O trabalho do poeta mostra uma poesia arquitetada laboriosamente. É uma poesia produzida no cálculo, na exatidão, em especial, nesse poema, na exatidão da lâmina poética cabralina
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Hultberg, Stina. ""I really needed to read this." : En undersökning av tematiska drag och poeternas betydelse inom instagram-poesi." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-86303.
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In this thesis I investigate central features in Instagram poetry based on the hypothesis that it is a new form of literary phenomenon. The study analyses six accounts on Instagram, all dedicated to Instagram poetry, as well as a selection of feature articles about Instagram poetry and interviews with the poets. Through this investigation, four aspects where considered: the themes of the poetry, the variety of roles Instagram poets play in relation to their poetry and their readers, how representation plays a part in some of these roles, as well as how the poetry takes place on the platform. The form and display of the poetry are examined further through an intermedial analysis of the relation between text, image, and the Instagram medium. This thesis argues that the themes of Instagram poetry are correlated with an assumption that the poet is honest and credible.Instagram poets play a crucial part in making the readers view their poetry as honest and credible, and they establish different roles to create and uphold that image. Through the intermedial analysis it has become clear that Instagram poets work with other aspects beside text, which is a quality of the poetry that has not been noticed in previous discussions and in dominant ideas of Instagram poetry. In conclusion, the thesis argues that Instagram poetry also shares traits with popular fiction and romance, in the poets’ aspiration to first of all connect with the readers and provide friendship, self-help, and comfort, through the poetry and the Instagram account.
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Nogueira, Ferreira de Jesus Maria Helena. "Gnose et poétique de la nudité dans l’œuvre de Sophia de Mello Breyner Andresen, Eugénio de Andrade et António Ramos Rosa." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030081/document.
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Cette recherche porte sur la poésie portugaise de la deuxième moitié du XXe siècle, plus précisément sur l’œuvre poétique et métapoétique de Sophia de Mello Breyner Andresen, Eugénio de Andrade et António Ramos Rosa. Ces auteurs révèlent une positivité marquée par une grande confiance dans le dire poétique. Celui-ci est perçu comme potentialité conciliatrice entre le sujet, le monde et la parole. C’est ainsi que la Poésie constitue chez eux une gnose ou une connaissance. Quoique néoromantique, c’est dans une mythification modérée de la parole poétique toujours entre la crainte et le désir que chaque poème invente sa possibilité. Après la crise du langage qui a mené à une poésie fataliste, leur originalité réside dans la capacité de réinventer ou reconstruire un sens pour le dire poétique et d’y puiser une énergie réparatrice. Dans cette construction de sens, l’image poétique assure un rôle essentiel et le thème de la nudité apparaît comme un paradigme de la vérité. Ainsi, le rapport complémentaire entre imagination productive et expérience vécue trouve une place importante dans cette réflexion au le sens où c’est ce rapport qui permet que la fable et le réel cohabitent dans le poèmeThis research concerns Portuguese poetry of the second half of the 20th century and, more specifically, the poetic and metapoetic works by Sophia de Mello Breyner Andresen, Eugénio de Andrade and António Ramos Rosa. These authors denote a positive attitude marked by a strong confidence in the poetic writing. They conceive poetry as a reconciling power that reinforces the ties between self, world and meaning. Thus, poetry becomes a mode of knowledge or a kind of gnosis. Despite their neoromantic sensitivity, their writing embodies a moderate mythification of the poetic powers, being aware of the oscillation between fear and desire in which every poem emerges as the invention of a new possibility. After the crisis of language and the fatalistic poetry that followed, their originality resides in the capacity of re-inventing or reconstructing a new significance for the poetic word and finding in it a source of reparatory energy. In such endeavour of meaning-construction, the poetic image assumes an essential role and nudity appears as a paradigm of truth. Therefore, the relationship between productive imagination and lived experience is located at the heart of this poetic world, for that relationship alone allows one to understand how fabulation and reality coexist in poetry
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Bennett, Caroline Jane. "The politics and poetics of Latin American magical realism." Thesis, Goldsmiths College (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400587.
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Armstrong, John Patrick. "Lyric realism to Epic consciousness : poetic subjectivity in the work of Edward Dorn." Thesis, University of Glasgow, 2008. http://theses.gla.ac.uk/502/.
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This thesis looks at Edward Dorn s work from his early poems in the late 1950 s to Gunslinger, his mock epic of the American West written between 1968 and 1974. The overall background premise to the present study is that, in this period, Dorn s work develops from a form of lyric, in his early work, to the construction of a multiple and epic consciousness within the four books of Gunslinger. Some critics of Dorn see quite radical shifts within this development, which often leads to a periodizing of Dorn s work. But this thesis argues for a strong continuity that runs alongside these shifts, driven by a consistent anti-capitalism that informs Dorn s writing. Chapter 1 assesses several of Dorn s early poems and finds within the construction of his poetic subject, a tendency to undo and undermine the traditional lyric voice of interiority. Comparisons are made with Frost and Thoreau, and Olson is introduced as Dorn s first and foremost major influence. The poet s dealing with otherness is considered, as are the influence of Whitman and Blake among others, with the aim of placing Dorn in a literary sense, and showing how his poetry continues and subverts various traditions and conventions of poetry, In Chapter 2, examples of Dorn s prose works - short stories, sketches and his autobiographical novel By the Sound (1971) - are explored both in their own terms and as experiential backdrop to the poetry. This section is particularly concerned with Dorn s configuration of poverty in his work and how it is consstructed as a form of American otherness. Chapter 3 s primary concern is with Dorn s treatment of the American West in his 1964 volume Hands Up! Particularly important here is Dorn s undemining of myth, its process of privileging certain stories to the detriment of history, and the West s reliance on capitalism. The second half of this chapter continues these ideas through an assessment of 'The Land Below'. Chapter 4 critiquse Geography (1965) through the influence of Charles Olson and the cultural geographer Carl Otwin Sauer. The first half is concerned with Dorn s push for expansiveness in his poetry and his attempts to achieve, what he calls, a 'condition of the simultaneous.' The second half of the chapter however, locates in this collection, a poetics of melancholy and isolation that is more in keeping with his early work and in tension with his development toward epic. Chapter 5 assesses The North Atlantic Turbine (1967), focusing primarily on the two long poems of the volume, 'The North Atlantic Turbine' and 'Oxford.' This section looks at the further expansion in Dorn s poetics with the collection s global reach, and also considers the introduction of the experimentation with made-up voices. The final chapter on Gunslinger looks first at Dorn s treatment of the first-person pronoun as a continuation of his consistent testing of poetic subjectivity. Also explored, are 'The Cycle' and Dorn s creation of Robart as a monstrous manifestation of capiralism and finally, how the poem utilises the genre of eopc. The goal of the thesis is to explore beneath the presumptions about Dorn s development as a poet and understand how the complexities of such a development are played out within the texts themselves. Also, the aim here is to show how the movement from lyric to epic takes place in Dorn s work by very gentle degrees and is inextricably connected to his anti-capitalist politics.
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McCann, Benjamin Edward. "Set design, spatial configurations and the architectonics of 1930s French poetic realist cinema." Thesis, University of Bristol, 2002. http://hdl.handle.net/1983/c99b13b0-9aca-425b-ba16-4ce97d9c643f.
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The aim of this study is to demonstrate that 1930s French poetic realist cinema is characterised by a highly readable set design. It is a decor imbued with meaning - not a silent shell, standing detached from the action but rather the amplifier of narrative concerns. The thesis develops the claim that the decor is freighted with a powerful dramaturgical and symbolic charge, whereby the figural dimensions of everyday decor fragments anthropomorphise into powerful signifying elements. Stylised studio-bound spatial configurations define the film's visual ambience, enhance its emotional dimensions and function as amplifier of the story. In order to identify the importance of decor as an interpretative matrix of poetic realism, I shall show how poetic realist decor is the confluence of orthodox architectural practice, personal temperament and an appeal to popular memory. By examining the design practices of individual set designers, the thesis will provide evidence for the capacity for architecture to act as resonator of mental impact. The study will show how the set designer emotionalises architecture, investing it with a strong spatial, visual and performative presence. Although other critical studies of poetic realism have recognised the distinctiveness of the set design, they have not fully examined the architectural specificity of the films. The thesis contends that the director-designer collaboration sought to distil a visual concept from the thematic and psychological concerns of the screenplay. This interface between story and style will be demonstrated by a move from the general to the specific, looking at depictions of the city, a rhythmic recurrence of decor fragments and the micro-dimensions of the object. Ultimately, the set design and architectonics of poetic realism are performative in the sense that they can represent a discourse of their own, producing an engaging dialogue with more traditional modes of film performance.
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Armstrong, John Patrick. "'Lyric realism' to 'Epic consciousness' poetic subjectivity in the work of Eward Dorn /." Connect to e-thesis, 2008. http://theses.gla.ac.uk/502/.
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Thesis (Ph.D.) - University of Glasgow, 2008.Ph.D. thesis submitted to the Department of English Literature, Faculty of Arts, University of Glasgow, 2008. Includes bibliographical references. Print version also available.
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Anjaria, Keya Shailendra. "The poetics of modernity in the Turkish realist novel, 1950-1960." Thesis, SOAS, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.656052.
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Hildebrandt, Melinda 1976. "Strands of realism : the instructional, the narrative and the poetic in British cinema, 1929-2003." Monash University, School of Literary, Visual and Performance Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/7598.
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Matos, Lucas de Mello Cabral e. "Oásis no deserto da referencialidade: Arnaldo Antunes e Vilém Flusser." Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2649.
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A presente dissertação pode ser compreendida como uma análise comparativa entre dois autores que, em distintos momentos nos últimos cinquenta anos e através de práticas de escrita e práticas artísticas diversas, se interessaram pelo questionamento acerca do tema da linguagem: sua natureza, o destino das questões por ela colocadas, assim como sua relação com o que chamamos comumente de realidade e com a poesia. Nosso objetivo era não somente identificar as reflexões concernentes aos diferentes aspectos estéticos do trabalho com a língua inerentes ao trabalho de Arnaldo Antunes em sua produção poética, cancionista e de artista visual, bem como as diferentes perspectivas oferecidas pela atividade filosófica de Vilém Flusser sobre o assunto, mas também especular quanto às implicações de como suas concepções de linguagem influenciaram sua obra e os diálogos que marcaram suas vidas. Não é de nosso interesse, portanto, definir a língua em termos teóricos e abstratos, antes, queremos pensar em como ela estrutura nossas vivências e conhecimento, e como diferentes articulações do tema da linguagem implicam transformações na própria forma como se vive a língua e como a língua se estrutura a si. Desnecessário dizer que acreditamos que tal questionamento tem bases de ordem estética, ética e epistemológica, o que quer dizer que a pesquisa se propõe como meio através do qual, pensar, em nossa modernidade, como o pensamento tem sido abordadoThis dissertation can be resumed as a comparative analysis of two authors who, in distinct moments in the last fifty years, have considered, throughout works of different kinds, the problem of language in its nature, its future ways, and its relation with questions concerning poetry and reality. Our goal was not only to observe the reflection regarding aesthetic aspects of language inherent to Arnaldo Antuness poems, song and pieces of art, as well as Vilém Flussers different perspectives on the subject, but also to speculate about how these conceptions have influenced their work and the dialogues that marked their lives. Thus, its not our interest to define language in theoretical, abstract terms, but to think about how it structures our experiences and knowledge, and how different approaches to the theme can change the way language structures itself. Its unnecessary to say that we believe that our questioning has aesthetical, ethical and epistemological implications, which means that research this topic is to think how, in our modernity, the problem of thought itself has been addressed
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Downes, Daniel M. "Interactive realism : a study in the metaphors, models, and poetics of Cyberspace." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0001/NQ44414.pdf.
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Hand, Vivienne Mary. "Language, self, and reality in the works of Andrea Zanzotto." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334993.
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White, Michael James. "The theme and poetic function of space in Theodor Fontane's works." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/969.
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This thesis proposes a new view of space in Theodor Fontane’s writing as both a mode of literary expression and an object of literary inquiry: space serves a poetic function and is a thematic concern. The research draws on theories of literary space which focus on spatial structures and topographies, as well as those which provide critical tools for analysing individual passages of description, especially focalisation, which elucidates the influence of the viewing figure in the text. Significantly, the subjective experience of a perceptive observer is central to Fontane’s conception of aesthetic processes, and as a result, an analysis of spatial representation often uncovers reflexive discourses on art, its function and value. On the basis of this insight, this study provides new readings of a range of texts, including less well-established and non-fictional works, as well as recognised masterpieces. In Fontane’s local travelogues, the Wanderungen, the poetic function of space is rare, while many passages reflect on the environment’s potential significance. The early novels explore spatial representation as a means of constructing textual symbolism. Spatial representation in Vor dem Sturm functions as a strategy of relativisation; in Schach von Wuthenow and Graf Petöfy topographies and pregnant descriptions serve as commentaries on characters’ levels of awareness. The mature novels Irrungen Wirrungen and Unwiederbringlich explore the sources and practical implications of reading objects in the world as signs. Space retains its formal role, but the represented figural experience of the novels’ worlds becomes a vehicle for reflexive analysis of the world’s perceived meanings. Similarly, in Der Stechlin different types of relationships with exterior reality are expressed spatially, and, as elsewhere, the capacity for aesthetic appreciation is represented positively. This entails and indeed produces critical distance towards modernity: isolated Stechlin is a locus of poetry, a testament to literature’s importance and vitality.
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Baker, Christine Lesley. "Landscape in Theodor Storm's Novellen : an aspect of the development of Strom's descriptive style into poetic realism." Thesis, University of Leicester, 1999. http://hdl.handle.net/2381/31132.
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Theodor Storm is regarded as a leading exponent of the Poetic Realism movement in nineteenth century Germany, and is also popular as an author renowned for his love of his native region of Schleswig-Holstein. This study aims to explore how the landscape depicted in Storm's narrative fiction contributes to the assessment of him and his intentions as a Poetic Realist author. After a summary of the concepts behind Poetic Realist writing and an investigation of the Novelle, its main vehicle, a selection of Novellen are analysed, incorporating works from Storm's early fiction and Marchen, deemed by many as direct descendants of Romantic prose, through to his last Novelle, regarded as one of the finest pieces of Poetic Realist writing. We contest hypotheses that Storm's early work is strongly founded in Romantic or Biedermeier writing, for both his ideologies and his narrative style are fundamentally different from those of his forebears. Though much criticised for producing mere "Bilderreihen", Storm handled themes uncharacteristic for the age, commenting on them beneath the surface of his idylls. We ascertain that the landscape plays a fundamental role in enabling him to write such tales accessible on two levels. As Storm's works mature, the themes in the early narratives are developed and Storm examines questions pertinent to the whole of mankind's existence. 'Unpoetic' topics are transformed; man's solitude and insignificance become blindingly apparent in the environment by which he is surrounded. The landscape symbolises the threats to his very being. The study concludes that Theodor Storm's own perceptions about literature concur with those popular in the latter half of the nineteenth century; but uniquely, the landscape by which he was surrounded enabled Storm to fulfil his own criteria and to develop into a Poetic Realist delving to depths explored by no other of his time.
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DeHaven, Javan M. "So Much for Sensation." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1398418971.
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Kroska, Aaron. "In Some Asbestos World." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2131.
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This thesis consists of a collection of poems which explore the relationship between the imagination and that mysterious thing we call reality. They engage with the Emmanuel Kant's notion of the dichotomy between subject and object; thus, one of the central concerns of the project is whether the object can ever be understood by a subject, whose mind imposes its categories and other forms of mediation upon whatever it perceives. The poems also engage with Wallace Stevens' notion of a "Supreme Fiction," as the only means left to us, however imperfect it may be, with which we might approach the "original idea" that all other perceptions of reality only approximate. In the absence of the certainty of an interrogated reality, negative space, that which cannot be perceived by the senses, is explored, proposed, gestured toward. That genius behind the infinity of the world.
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Wallace, Brian. "Warriors and warfare : ideal and reality in early insular texts." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/6434.
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This thesis investigates several key aspects of warfare and its participants in the Viking Age insular world via a comparison of the image which warriors occupy in heroic literature to their concomitant depiction in sources which are primarily nonliterary in character, such as histories, annalistic records, and law codes. Through this method, the thesis seeks to add to the scholarship regarding organized violence in this era in two principle manners. First, this study will depart from nearly all previous studies of warriors by moving beyond a single cultural milieu and treating them in a ‘pan-insular’ context. Second and perhaps more importantly, in choosing to address the heroic literature as a genre distinct from other contemporary texts, this thesis will allow progress beyond the bulk of pre-existing ‘warfare scholarship’ for this era, which tends to utilize any and all manner of sources as a reflection of historical reality. In considering the context of heroic poetry and sagas, the thesis will allow one to make conclusion regarding its likely authorship and intended audience, as well as the goals of the former and expectations of the latter. Studies of warfare are always of particular relevance, due to their intersection with many areas of history long studied, such as constitutional and legal history, as well as those which have only recently received their due attention, such as questions of group cohesion, violence, and community. This thesis was largely inspired by the attempt by Stephen S. Evans to study the institution of the war-band in a crosscultural reference in his 1997 book Lords of Battle. Evans provided a good analysis of this body in its fifth- through eighth-century Anglo-Saxon and British manifestation but failed to achieve his primary stated goal – a comparison of the image and reality of the war-band. His decision to limit his research to the Anglo- Saxon and Welsh cultural spheres in the era predating the first Viking invasions led him to omit much relevant Irish and Insular Norse material, as well as a great deal of later heroic literature. It was with these two shortcomings in mind that I set out to write a more thorough treatment of the war-band. Yet, what began initially as an attempt to remedy the shortcomings of Lords of Battle soon grew into a slightly more wide-ranging study that has moved beyond focussing solely upon the war-band to look at attitudes about warfare and its participants amongst contemporary audiences and authors during the Viking age insular world.
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Černíková, Marie. "Determinace kostýmem v žité a inscenované realitě." Doctoral thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-252316.
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My dissertation focuses on the forms of costume outside the theatre. For its purpose I propose reflecting the western society at the beginning of the second decade of the 21st century as a form of staged (shaped by the abundance of dramatic narrative in media) reality. I discuss the role of mass media in relation to the spectator, e.g. visual and narrative codes effecting our own self representation.
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Izzo, Anna Lisa. "Ragioni e passioni di una fine : per una poetica della clôtura narrativa nel romanzo realista-naturalista." Paris 3, 2006. http://www.theses.fr/2006PA030105.
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Toute l’architecture d’un texte converge dans la fin : choix de poétique, modèles structurels et présupposés idéologiques devraient retrouver ici une dernière confirmation. La fin se veut preuve de l’efficacité du texte. Dans ce travail on tente de réperer les règles sintactiques et sémantiques qui président à la construction d’une cohérence finale et de montrer les apories qui eloignent toujours le corps vivant de l’œuvre d’art de toute surdétermination théorique. Le parcours de ce travail à l’intérieur de la clôture narrative tache d’illustrer l’opposition des forces en jeu dans les textes : comment cette opposition se développe et comment elle se resout. Dans ce processus, la fin a été considéré comme la limite physique au-delà de laquelle la dynamique entre les tendances en opposition ne pourra plus changer. Le roman réaliste-naturaliste avait cela d’intéressant en tant qu’objet de la recherche : il affichait la volonté de priver la sortie du texte de toute emphase et de toute signification forte. Cette recherche est une enquête au niveau des contrastes entre les trois paramètres, dont l’intéraction au moment terminal du texte est censée produire chez le lecteur un ‘effet de fini’ : fin/finition/finalité. La typologie qui s’est dessinée à partir de cette enquête se développe en trois modèles qui, chacun d’un manière différente, resout l’équilibre entre les voix opposées du texte : le concepte de ‘formation de compromis’ a paru central pour la description de ces dynamiques. Le jeu d’équilibres entre tendances opposées dans le texte littéraire a été exprimé par un système de figures réthoriques (metaphore, ironie, sinecdoque et litote) qui ont paru efficaces pour interpreter ce même jeu et incarner les dynamiques. Ce patrimoine de figures sans doute représente en lui-même un corpus de paradygmes de formation de compromis et s’offre tel un précieux arsenal pour la description et l’organisation de ces phénomènes littérairesIn this work, after giving a definition of closure as a process to build the meaning and the coherence of the text, I suggest a typology of closure in the european realistic novels, focusing on the Italian and French literature between 1857 (the date of the trial against Mme Bovary) and 1901 (the date of the italian novel Il Marchese di Roccaverdina by Capuana) while approaching the international impact of the discussion about the genre at that time. The idea of an open-ending related to the novel of the end of XIXth century is almost a stereotype, especially because the authors – according to Flaubert – struggled against the narrative ending. My purpose is also to correct this opinion and, working on a new typolgy, show that very often, even the realistic novel cannot avoid a closed representation of the world, despite the authors’ intentions. My typology is founded on the concept of compromise between the different voices and the different issues at work in the novel: every single paradigm is expressed by a rhetorical figure as a model of compromise in itself. I analyze a large corpus of the XIXth century novels’ endings (but I also give examples in a larger historical perspective), I show the dialectic structure of the end of the novel where formal structures, figures of style, themes are all proves of the efficacity and the coherence - or the incoherence - of the text. Finally I show how the text solves the dialectical conflict between different voices and how it builds a closed or open representation of the world
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Gaudinskaitė, Sigita. "Magiško(jo)realizmo poetika Gabrielio Garcíos Márquezo, Sauliaus Tomo Kondroto, Artūro Imbraso romanuose: lyginamasis aspektas." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120831_110042-07315.
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Magistro darbe tyrimas atskleidė, kad magiško(jo) realizmo poetikai romanuose svarbus interdiscipliniškumo aspektas. Biblijos, istorijos, mitologijos faktų pateikimas sumaišo dabartį ir praeitį, tikroviškus ir antgamtinius reiškinius, universalumą ir realybę. Magiško(jo) realizmo poetika atskleidžia netikėtą kultūros ir civilizacijos opoziciją, kur gamta, papročiai, tradicijos priskiriamos būtent kultūros fenomenui, o civilizacija priartinama mokslo ir taisyklių sampratai. Unikali naratyvo forma, laikų, vietų kaita, vardų vartojimas – priartintų stebuklo, neįtikėtinų įvykių galimybę. Visa tai – magiško(jo) realizmo poetikoje skirta skaitytojo įtraukimui į tekstą, jo aktyvinimui ir stebinimui.The research revealed that the aspect of interdisciplinarity was important for the poetics of magic(al) realism in the novels. Presentation of biblical, historic, mythological facts blended the present and the past, realistic and supernatural phenomena, versatility and reality. The poetics of magic(al) realism revealed an unexpected opposition of culture and civilisation, where nature, manners, traditions were attributed namely to the cultural phenomenon, and the civilization was brought closer to the concept of science and rules. A unique form of narrative, vicissitude of times and locations, usage of names – should anticipate the possibility of a miracle, unbelievable events. In the poetics of magic(al) realism, all that is used for involvement of a reader into the text, his/her activation and causing surprise.
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Steinberg, Vivian. "A \"fala perfeita\" de Fiama Hasse Pais Brandão - um diálogo íntimo com a realidade." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-17092012-122751/.
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Este trabalho tem como objeto de estudo a investigação da poética de Fiama Hasse Pais Brandão buscando entender o que é fala perfeita para a Autora. Analisamos minuciosamente o poema Teoria da Realidade tratando-a por tu, que é toda uma poética, e o relacionamos com sua obra, demonstrando assim uma coerência em seu projeto poético. O poema analisado faz parte da série Poéticas, do livro Cenas Vivas de 2000. Nesse poema há um desdobramento do sujeito poético que persegue sua voz desde seus balbucios. Podemos dizer que o sujeito da enunciação nos conta como sua voz poética apareceu, desenvolveu, adquiriu a fala perfeita e a ofereceu aos leitores. Desde a publicação de Morfismos, em 1961, que a Autora preocupou-se em resgatar a língua da estreiteza de seu uso comum e em dar autonomia à linguagem, buscando o que chamou de poesia/ substantivo, assim se filiando à tradição da modernidade e especificamente a Mallarmé. Seus poemas são testemunhos de tudo o que foi escrito e lido por ela, desde as grandes epopeias e a Bíblia, à tradição anglo-germânica, aos grandes poetas americanos e à tradição portuguesa. Fizemos um percurso em sua obra perseguindo poemas que são poéticas, ou seja, que o tema é a própria poesia para descobrir como se dá a visão e o conhecimento que Fiama tem do real e do poético. Constatamos que fez uma opção pela realidade. A matéria poética de Fiama pertence à terra, há uma preocupação em desvendar o real. Podemos constatar essas questões, a partir da nossa leitura dos poemas de Obra Breve Poesia Reunida. Selecionamos um percurso poético que desaguou em Teoria da Realidade tratando-a por tu, o que nos mostrou a intimidade que adquiriu com a realidade, além de nos revelar como sua voz poética desabrochou.This study has its object of research the poetry of Fiama Hasse Pais Brandão, attempting the understanding of what the perfect speech means to the author herself. Detailed examination of the poem Teoria da Realidade tratando-a por tu (The Theory or Reality getting familiar with it), reflects the complete author´s poetic, embracing Fiama´s work as a whole. The poem analyzed makes part of the series Poetics (Poetics) from the Cenas Vivas (Living Scenes) book dated from the year 2000. There is in this poem the unfolded poetic subject that chases her muttering voice. We can say the enunciation subject tells us how the poetic voice had emerged, developed, acquiring the perfect speech thus offering it at last to its readers. Since the publication of Morfismos (Morphisms) in 1961, the Author worries about the language narrowness, rescuing from its ordinary use. Giving autonomy to it as well as searching what she had called the poetry/noun. This way Fiama´s poetry filiation relies on the modern tradition and specifically in Mallarmé. Her poems witness all the things that has been written and read by her. From great epics to the Bible, the Anglo-Germanic tradition to the great American poets also including in this list the Portuguese tradition as well. The path throughout her work has chased poems that are poetic, in other words, that the theme is the poetry itself, revealing the envisioning and the knowledge Fiama has from reality as well as poetry. It has been detected she opted for reality. The poetic material for her, belongs to the Earth where there is a concern to unveil what is real. These matters have been attested based on the reading of the poems of the Obra Breve Poesia Reunida (Brief Works). The poetic path selected ended up in the Teoria da Realidade tratando-a por tu (Theory of Reality- getting familiar with it), this has exposed us the intimacy that she has gained with reality, revealing at same the time how her poetic voice blossomed.
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Chatfield, Thomas Edward Francis. "Beyond realism and postmordernism : towards a post-Christian morality in the works of Philip Larkin, Kingsley Amis and Martin Amis." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:1db4198a-56e4-417d-b5e5-eb6586a6d7d6.
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This thesis evaluates and re-evaluates the relationship between the works of Philip Larkin, Kingsley Amis and Martin Amis through a detailed examination of their published works, and attempts to locate this relationship in the context of the central moral uncertainties of post-1945 British fiction. Most previous critical studies of these authors have tended to discuss the relationship between Kingsley Amis and Martin Amis in terms of an opposition between the father's realism and the son's postmodernism, and have debated Philip Larkin's influence upon Martin Amis only tangentially. Against this trend, this thesis argues that these three authors share a commitment to literature as a public, moral act, and, in particular, that their works share the intention of articulating a number of closely related secular 'human values' which map out a potential post-Christian morality in British society. The thesis also examines a common tension within their oeuvres inimical to such hopes - the fear that the possibilities of rational self-scrutiny and of becoming 'less deceived' have been discredited by the history of the twentieth century, and that this history instead evidences the dominance of irrational and self-destructive tendencies in the human. These fears, it is further claimed, are implicated in the works of all three authors in a tendency towards the construction of Edenic myths, deterministic simplifications, and despairing devaluations of the value of human life. Overall, this thesis makes the case for the significance of the common concerns of Martin Amis, Kingsley Amis and Philip Larkin's works in the context of contemporary literary studies: their efforts to create in art an unpretentiously 'public space' for the address of burning moral and existential issues, and their unresolved struggles with the question of what it might mean to live a good life in a society which no longer possesses religion as a common moral language.
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Fernandes, Alessandra Navarro. "Do corpo ao pó : a morte na poesia do período realista (1870 a 1920)." Universidade Estadual de Londrina. Centro de Letras e Ciências Humanas. Programa de Pós-Graduação em Letras, 2011. http://www.bibliotecadigital.uel.br/document/?code=vtls000192224.
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O objetivo deste trabalho é verificar as representações da morte na poesia do período realista (1870 a 1920). A data compreende a vigência de uma percepção de mundo mais objetiva e observadora dos fatos, influenciada pelo saber cientificista iniciado por volta de 1870 e vigorando até aproximadamente a primeira década do século XX, quando então têm lugar outras tendências literárias de impacto como o modernismo. Procurou-se em um primeiro momento saber quais poetas publicaram obras no período e, num segundo momento, pesquisou-se nas obras apontadas poemas temáticos da morte, chegando a um total de 377 poemas. A leitura indicou a recorrência de seis representações que tendem a algumas especificidades realistas como a objetividade na composição que descreve o fato da morte e não a solenidade romântica dele; o tom meditativo, crítico e indagador do sentido da morte percebendo uma condição humana de fracasso, na qual o homem luta para depois ser aniquilado; o declínio acentuado dos valores religiosos tradicionais a fé, a alma, o além vida, o céu e a Providência divina, num papel questionador do amparo místico diante da perda; o homem sujeito às leis da natureza e por conseqüência ao ciclo natural de nascimento, maturidade e morte. Trata-se de repudiar tal ordem e se refugiar em outra, ilusória, própria do homem, desejoso de escapar à maldade da natureza que nutre e devora. Outra representação fala sobre o esgotamento da vida na matéria, diante da hipótese de não haver outra vida após a morte, enfatizando os valores terrenos como o amor e a juventude, únicas possibilidades de plenitude do homem. Há também a representação da inquietação com a decrepitude humana, que começa em vida, nutrindo-se das doenças, e culmina na decomposição do cadáver, alimento dos vermes. Tais representações definem o período e as tendências realistas na poesia. Os demais objetivos são: conhecer e delimitar as representações da morte no período romântico para verificar o que mudou e o que continuou no momento literário posterior; sintetizar as atitudes e mentalidades com a morte, provenientes de épocas mais remotas, na tentativa de conhecer os fatos históricos ou linhas de pensamento que organizaram a percepção de mundo; verificar a fortuna crítica do tema no período selecionado na historiografia literária. O último objetivo é analisar uma representação de feição romântica a prevalecer para além do século XIX: o problema da morte do poeta, este ser especial, de alma sensível e insubstituível. O trabalho se justifica pela necessidade de ampliar o estudo de temas na literatura, e colaborar para os estudos, ainda escassos, das mentalidades sócio-literárias sobre a morte.The aim of this essay is to verify the representations of death on the poetry of the realistic period (1870 a 1920). The date comprehend the validity of a more objective and perception of the world, influenced by the cientificist knowledge that began around 1870 and lasted until around the first decade of 20th century, when so take place other literary tendencies of impact such as modernism. The research tried at first to know which poets published works at that period and at a second moment, it was researched at the works selected, poems which theme is death, getting a total of 377 poems. The reading indicated the recurrence of six representations that tends to some realistic specificities such as objectivity on the composition, which describes the fact of death and not its romantic solemnity; the meditative, critic and inquiring tone of the meaning of death realizing a human condition of failure, in which man fights for life, to be, later, annihilated; the evident decay of traditional religious values the faith, the soul, the other life, the heaven and the divine Providence, in a questioning role of the mystic support in the face of grief; the man exposed to nature laws and consequently to the natural cycle of birth, maturity and death. It is about repudiating that order to refugee in another one, illusive, proper of man, who wants to escape from nature evil that feeds and devours. Another representation refers to life depauperation in matter, in face of the hypothesis that there is no other life after death, emphasizing values such as love and youth, only possibilities of man´s fullness. There is also a representation of the concerning about human decrepitude, that begins in life, sustained by sicknesses, and culminates at corpse decomposition, which is worm´s food. These representations define the realist period and tendencies in poetry. Other goals are: to know and to delimit the representations of death in the romantic period in order to verify what has changed and what has remained at the next literary moment: to synthesize the attitudes and mentalities about death, proceeding from distant ages, in the attempt to know historic facts or lines of thinking which organized the way people perceive the world; to verify the critic wealthiness of the theme at the chosen period at the literary historiography. The last goal is to analyse a representation of romantic aspects to remain beyond XIX century: the problem of the poet´s death, this special human being, who has a sensitive and irreplaceable soul. The research justifies itself by the necessity of amplifying the study of themes in literature, and cooperate for the studies, still rare, of the social and literary mentalities about death.
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Leypoldt, Günter. "Casual silences : the poetics of minimal realism from Raymond Carver and the New Yorker School to Bret Easton Ellis /." Trier : Wissenschaftlicher Verlag Trier, 2001. http://catalogue.bnf.fr/ark:/12148/cb388753788.
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Ersoy, Ersev. "Social reality and mythic worlds : reflections on folk belief and the supernatural in James Macpherson's Ossian and Elias Lönnrot's Kalevala." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7842.
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This thesis investigates the representation of social reality that can be reflected by folk belief and the supernatural within mythic worlds created in epic poetry. Although the society, itself, can be regarded as the creator of its own myth, it may still be subjected to the impact of the synthesized mythic world, and this study seeks to address the roles of the society in the shaping of such mythic worlds. The research is inspired by an innovative approach, using James Macpherson’s Ossian (1760-63) and Elias Lönnrot’s Kalevala (1835-49) as epic models that benefit from mythical traditions. Through the examination and the comparison of these two epic collections, both of which seem to have a close association with social reformation and restructuring, the study explores the universality of human nature. It also reveals the extent mythic worlds may exhibit the ‘realities’ of their source-societies and how mythical tradition may become a reflection of a society’s transforming past modes of thinking. Moreover, the study devotes special attention to the influence of mythic heritage on national awakening and the construction of national identities. The research treats Macpherson as the re-inventor of Gaelic oral tradition with his Ossian, where he portrays a Romanticized image of a gallant past according to the norms of the eighteenth century. Therefore, the mythic world of the epic can be seen as a combination of an ancient heroic past and the aesthetic refinement of a polished age. In this framework, as the product of a society going through a transition period from traditional to modern, Ossian seems to reflect the society’s changing world-view, both celebrating, and mourning for a culture on the verge of extinction. Focusing on the Kalevala, the study analyzes its portrayal of Finnish folk belief. The Kalevala, like Ossian, is an attempt to recover ancient tradition, which seems to revolve around supernatural and divine elements, with hopes to establish a common social reality. It is an expression of Finnish language, belief and culture, whose production was prompted by the looming Finnish nationalism. Therefore, the evolving mode of thought represented in the mythic world of Kalevalaic poems, is expected and favoured by the society, enabling the epic to encourage a social reformation.
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JUNE, NAM MO. "Rimbaud rendu a la terre et a son siecle : etude de la correspondance." Nice, 1998. http://www.theses.fr/1998NICE2018.
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Fondee sur une approche realiste de l'oeuvre d'arthur rimbaud, notre recherche, intitulee + rimbaud rendu a la terre et a son siecle ; (410 pages), s'attache moins aux textes poetiques eux-memes qu'aux deux cent-neuf lettres qui, de 1870 a 1891, composent ce que nous connaissons de sa correspondance. Partant de la presentation analytique globale de cette correspondance, elle examine ensuite un certain nombre de themes (revolte, mouvement, esprit positif, commercant) choisis pour leur aptitude a reveler le visage encore imparfaitement connu d'un rimbaud engage dans les evenements de la seconde moitie du xixe siecle (guerre franco-prussienne, commune de paris, expansion coloniale) et subissant l'influence des idees dominantes de son temps (croyance dans les vertus de la science positive et de la technique, volonte de maitrise du monde). La correspondance permet d'embrasser au fil des lettres les evenements cardinaux de la vie de rimbaud, sur lesquels elle offre un temoignage vivant et direct, quoique parfois lacunaire; outre les eclairages qu'elle jette sur la personnalite complexe du poete devenu explorateur et negociant, elle constitue un revelateur de la societe etrangere dans laquelle celui-ci evolue, montrant pourquoi et comment, en matiere sociale, politique ou economique, le poete des illuminations tente de se faire geographe ou ethnologue. En vue de doter cette etude d'un instrument d'analyse rigoureux permettant des approfondissements ulterieurs, nous avons mis au point une + table de concordances des lettres d'arthur rimbaud ;. Nous presentons cette table dans une annexe a notre etude, dont elle constitue le deuxieme volume (967 pages)Based on a realistic approach to the works of arthur rimbaud, my study, entitled + rimbaud descended to the earth and to his century ; (410 pages) focuses less on the poetic text themselves but rather on the analysis of two hundred and nine letters of correspondence written 1870 and 1891. Starting with a global analytic presentation of that correspondence, this study examines a certain number of themes (revolt, movement, positivism, merchant, etc. ). This study investigates a rimbaud, until now unknown, engaged in the events of the second half of the 19th century (franco-prussian war, paris commune, colonial expansion), and the influence upon him of the dominant ideas of his time (the belief in the truth of positivistic science and technique, and the desire of world conquest). This correspondence permits us to understand from each letter the cardinal events of rimbaud's life. Offering direct and vivid evidence, illuminating for us the complex personality of the poet as an explorer and merchant; revealing the foreign society in which rimbaud had evolved; showing how and why through social, political and economic matters the poet of + illuminations ; strived to be a geographer or ethnographer. With a view to making this study a rigorous analytic instrument, which is both useful and profound, i attached a + table of concordance of the letters of arthur rimbaud ;. This table is presented as an appendix to this syudy, which constitutes the second volume (967 pages)
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Brogly, Marie-Noëlle. "Pierre Reverdy : lyrisme de la réalité : poétique du visuel." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3413.
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This thesis aims to provide the first complete study of the poetics of Pierre Reverdy, who, although famous and influential during his lifetime, has not been widely published or researched. This thesis hopes to change this, as his complete works are just now being republished. The first chapter lays the basis for his conception of reality as something in which man is trapped, and which calls for a distance that, in Reverdy's eyes, only poetry can offer. His association of the image and lyricism, is presented and analysed. The second chapter aims to provide a linguistic understanding of the poetic image called for and devises the new concept of “illumination”, to give an account of the phenomenon at work in his verse. The third chapter focuses on lyricism, as Reverdy tries to reinvent it for the twentieth century: independent of the self, dealing only with expressing the affective tonalities of the poet and acting as a catalyst for the image. The last chapter defines the visual qualities of Reverdy's poetry by first re-examining the title of cubist poet that had been attached to him, before focussing on the many forms that the image takes in his work (imagery, but also typography, mental imagery), and finally providing the first analysis of the relationship between paintings and poems in the famous Livres d'artistes that the poet created, in collaboration with Picasso, Matisse, Juan Gris and others. It establishes that while the poems can indeed be read without the illustrations with which they were conceived, these editions deprive the reader of the opportunity to remind himself that poetry is an experience rather than a quest for meaning and also of an introduction to the unique visual qualities of Reverdy's poetry.
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Leach, Martin. ""Even the thing I am ..." : Tadeusz Kantor and the poetics of being." Thesis, De Montfort University, 2012. http://hdl.handle.net/2086/7332.
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This thesis explores ways in which the reality of Kantor’s existence at a key moment in occupied Kraków may be read as directly informing the genesis and development of his artistic strategies. It argues for a particular ontological understanding of human being that resonates strongly with that implied by Kantor in his work and writings. Most approaches to Kantor have either operated from within a native perspective that assumes familiarity with Polish culture and its influences, or, from an Anglo-American theatre-history perspective that has tended to focus on his larger-scale performance work. This has meant that contextual factors informing Kantor’s work as a whole, including his happenings, paintings, and writings, as well as his theatrical works, have remained under-explored. The thesis takes a Heideggerian-hermeneutic approach that foregrounds biographical, cultural and aesthetic contexts specific to Kantor, but seemingly alien to Anglo-American experience. Kantor’s work is approached from Heideggerian and post-Heideggerian perspectives that read the work as a world-forming response to these contexts. Read in this way, key writings, art and performance works by Kantor are revealed to be explorations of existence and human being. Traditional ontological distinctions between process and product, painting and performance, are problematised through the critique of representation that these works and working practices propose. Kantor is revealed as a metaphysical artist whose work stands as a testament to a Heideggerian view of human being as a ‘positive negative’: a ‘placeholder of nothing’, but a ‘nothing’ that yet ‘is’ …
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Bergquist, Carolyn J. "Fictions of belief in the worldmaking of Geoffrey Chaucer, Sir Philip Sidney, and John Milton /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3102152.
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Thesis (Ph. D.)--University of Oregon, 2003.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 176-185). Also available for download via the World Wide Web; free to University of Oregon users.
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Merten, Sabine. "Die Entstehung des Realismus aus der Poetik der Medizin die russische Literatur der 40er bis 60er Jahre des 19. Jahrhunderts /." Wiesbaden : Harrassowitz, 2003. http://books.google.com/books?id=MM1kAAAAMAAJ.
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Fayad, Maria Elizete de Azevedo. "Poesia e realismo em Rio do sono , de José Godoy Garcia." Pontifícia Universidade Católica de Goiás, 2009. http://localhost:8080/tede/handle/tede/3274.
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Previous issue date: 2009-12-16José Garcia Godoy (1918-2001), a poet with political and social issues, was unnoticed in the history of Goias' culture. Aware of the limited source of research on his work, this study examines the master piece Rio do sono" (1948), by verifying the realistic readableand in his poems focusing on the historical conception of empirical reality and realism as a convention. To this end, we were decided to point his critical fortune and the overview of his work. After, we discuss the realism and its theoretical aspects which is based on Aristóteles (1973); Alfonso Berardinelli (2007); Jenny Laurent (2003) Erich Auerbach (1976); Roland Barthes (1970;1972); Roman Jakobson(1978;1990) and specially Phillipe Hamon (1984). And, through a theoretical discussion, we assessed the realism in Garcia with a focus on readableand transmitter with clarity, consistency and coherence of his lyrical language.
José Godoy Garcia (1918-2001), poeta com engajamento político e social, passou quase despercebido na história da cultura goiana. Ciente da escassa fonte de pesquisa sobre sua obra, este estudo analisa a obra Rio do sono (1948) para verificar a lisibilidade realista como recurso transmissor de clareza, homogeneidade e coerência lingüística da sua lírica, com enfoque na concepção histórica da realidade empírica e no realismo enquanto convenção discursiva. Para tal, estipula-se sua fortuna crítica e faz-se uma visão geral de sua obra. Em seguida, discute-se a lírica e o realismo e suas vertentes, cujo arcabouço teórico se fundamenta em Aristóteles (1973); Alfonso Berardinelli (2007); Jenny Laurent (2003) Erich Auerbach (1976); Roland Barthes (1972; 1972b); Roman Jakobson (1978; 1990) e, especialmente, Phillipe Hamon (1984). Através dessa discussão teórica, avalia-se o realismo de algumas poesias de Rio do Sono.
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Weintraub, Fabio. "O tiro, o freio, o mendigo e o outdoor: representações do espaço urbano na poesia brasileira pós-1990." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-10022014-102254/.
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O presente trabalho constitui uma investigação sobre as estratégias de representação da cidade na poesia brasileira contemporânea, segundo quatro eixos temáticos: representações sobre violência, circulação, moradia e temporalidade no espaço urbano. Analisam-se poemas de oito autores Alberto Martins, Duda Machado, Eduardo Sterzi, Pádua Fernandes, Paulo Ferraz, Régis Bonvicino, Ronald Polito e Tarso de Melo em cuja obra os temas de cada eixo ocupam lugar de relevo. Do ponto de vista temporal, a maioria dos poemas pertence a livros escritos na última década e meia e representa uma guinada realista dentro da tendência de negação das referências concretas ao país e ao momento histórico, dominante nos anos 1980 e em boa parte da década seguinte. A escolha do marco pós-1990 levou também em conta circunstâncias de agravamento da crise habitacional, incremento da violência, colapso dos transportes e museificação urbana, cujo impacto sobre os poetas é avaliado mediante comparações não sistemáticas com momentos anteriores de nossa poesia (e, mais pontualmente, da canção brasileira) em que temas semelhantes recebem tratamento diverso. Tais comparações ensejam, ainda, uma reflexão sobre o vínculo da poesia contemporânea com seus antecedentes próximos (o legado modernista, o experimentalismo concretista e as contribuições da poesia marginal). Para a descrição das novas configurações de cidade e para a discussão do diálogo do contemporâneo com a poesia do século XX, aproveitam-se contribuições da arquitetura, do urbanismo, da antropologia e da sociologia urbanas, entre outras disciplinas.The present work is a research into the strategies of representation of the city in contemporary Brazilian poetry, according to four themes: representations of violence, circulation, housing and temporality in the urban space. It analyzes eight authors Alberto Martins, Duda Machado, Eduardo Sterzi, Pádua Fernandes, Paulo Ferraz, Régis Bonvicino, Ronald Polito and Tarso de Melo in whose work these themes occupy a prominent place. From the temporal point of view, most of the poems belong to books written in the last fifteen years, and they represent a realistic shift within the trend of denial of concrete references to the country and to the historical moment, a trend that was dominant in the 1980s and much of the following decade. The choice of post-nineties also took into account the historical circumstances of aggravation of the housing crisis, the increased violence, the breakdown of transport and urban museification, whose impact on the poets is evaluated by non systematic comparisons with previous periods of our poetry (and, more occasionally, with the Brazilian song) in which similar themes are treated differently. Such comparisons also engender a reflection on the relation of contemporary poetry with its close background (the modernist legacy, the experimentalism of Concrete Poetry and contributions of Marginal Poetry). In order to describe the new settings of the city and to discuss the dialogue between the contemporaneous and the poetry of the twentieth century, this work benefited from contributions of architecture, urban planning, urban anthropology and sociology, among other disciplines.
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Ireson, Kayla M. "The Rebuff of Discovery: A Collection of Poems." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/honors/258.
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This creative thesis is a retelling of events as a collection of poems. Struggling with mental illness most of my life, I base most of my writing in this odd juxtaposition—the struggle for life alternating with my delight in its splendor. I find myself writing about the most challenging times in my life along with the most magnificent.
The critical introduction explores and elaborates on the context and influences of my writing. Every line of poetry on every page has been a journey of reconciliation with my past and present—a journey deciphering who I am among all the leftovers of what I have been. An undeniably essential expedition.
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Mitchell, Joyce L. "George Crabbe : the voice of the common man/woman /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974663.
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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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McCarthy, Bridie Clare, and bridiecmccarthy@yahoo com au. "At the limits: Postcolonial & Hyperreal Translations of Australian Poetry." Deakin University. School of Communication and Creative Arts, 2006. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20070329.093702.
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This dissertation employs the methodologies of postcolonial theory and hyperreal theory (following Baudrillard), in order to investigate articulations of identity, nation and representation in contemporary Australian poetry. Informed by a comparative analysis of contemporary Latin American poetry and cultural theory (in translation), as a means of re-examining the Australian context, this dissertation develops a new transnational model of Australian poetics.
The central thesis of this dissertation is that contemporary Australian poetry engages with the postcolonial at its limits. That is, at those sites of postcoloniality that are already mapped by theory, but also at those that occur beyond postcolonial theory. The hyperreal is understood as one such limit, traceable within the poetry but silenced in conventional postcolonial theory. As another limit to the postcolonial, this dissertation reads Latin American poetry and theory, in whose texts postcolonial theory is actively resisted, but where postcolonial and hyperreal poetics nevertheless intersect.
The original critical context constructed by this dissertation enables a new set of readings of Australian identity through its poetry. Within this new interpretative context, the readings of contemporary Australian poetry articulate a psycho-social postcoloniality; offer a template for future transactions between national poetry and global politics; and develop a model of the postcolonial hyperreal.
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Ferreira, Adão Ana. "Alexandre O'Neill : du surréalisme tardif à la poétique du réel." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040179.
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Cette recherche porte sur l’analyse de la poésie d’Alexandre O’Neill, poète portugais de la seconde moitié du XXe siècle. O’Neill débute sa carrière en fondant le Mouvement Surréaliste de Lisbonne en 1947,mouvement artistique et littéraire bien postérieur à l’école française, et créé en contestation au régime salazariste. En 1951, avec la publication de Tempo de Fantasmas, son premier recueil de poèmes, le poète se détache radicalement du mouvement pour s’orienter vers une poésie originale. Pourtant, il restera longtemps considéré par les critiques comme un poète surréaliste. Son projet de transformation du réel se caractérise, dès le salazarisme, par une approche singulière du quotidien. Transformation du réel à travers l’éclatement du langage, transgressions du discours officiel dans le but d’attaquer le système politique en vigueur et les mœurs de la société portugaise, attaques humoristiques contre les canons de la littérature de ce pays : O’Neill utilise les ressorts de l’écriture surréaliste, mais les oriente vers une transgression spécifique. Son refus du langage lorsque celui-ci est circonscrit dans son usage ordinaire, son exploitation de la vie quotidienne, de l’observation du peuple et de ses questions identitaires et sociales forgent un matériau poétique singulier, dont l’horizon est émancipateur : il faut accéder poétiquement aux possibilités de construction d’une autre réalité.Libérateur et ferment de pensée, il démontre, par sa poétique, que d’autres manières d’utiliser le langage sont possibles, et que ce langage parviendra à recréer le monde : en remettant en question le système normatif de la représentation du réel, il crée une poétique de l’humainThis research focuses on the analysis of the poetry of Alexandre O’Neill, a Portuguese poet from the second half of the twentieth century. O’Neill began his career as founder of the Surrealist Movement of Lisbonin 1947, an artistic and literary movement created thirty years after the French school, in opposition to theSalazar dictatorship. In 1951, with the publication of Tempo de Fantasmas, his first collection of poems,O’Neill radically detaches himself from the movement and creates an original form of poetry. Yet the criticswill, for a long time, consider him a surrealist poet. His project to transform reality is characterised by a singular approach to daily life. The transformation of reality through bursts of language, the transgression ofofficial discourse as an attack towards the political system and the morals of Portuguese society, the humorous attack against his country’s entire literature canon: O’Neill uses elements of surrealist writing and directs it towards a specific transgression. He refuses to limit language to an ordinary usage; his exploitation of everydayness, along with his observation of people, of their identity and of social matters, forge a singular poetical material with an emancipatory horizon: it is necessary to reach possibilities of building a different reality through poetry. As a liberator and a catalyst of thought, he shows, through his poetry, other ways in which the use of language is possible. This language is capable of transforming the world: by challenging the normative system of the normative system of representing reality, O’Neill creates the poetics of humans
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Alberca, García María del Mar. ""Por mala conciencia escritores de poesía social" : Jaime Gil de Biedma en el contexto del realismo social español de postguerra /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p3064464.
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Bobzin, Henning [Verfasser], Claudia [Akademischer Betreuer] Stockinger, and Simone [Akademischer Betreuer] Winko. "Von Bremen in die Anderswelt : Über Identität und Realität in Prosahauptwerk, Poetik und Weblog von Alban Nikolai Herbst / Henning Bobzin. Gutachter: Claudia Stockinger ; Simone Winko. Betreuer: Claudia Stockinger." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2015. http://d-nb.info/1071991701/34.
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Kanzler, Katja. "'Race' and Realism - Vision, Textuality, and Charles Chesnutt’s The Marrow of Tradition." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-163998.
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In this article, I read Charles Chesnutt’s The Marrow of Tradition (1901) against the background of realism to unravel the novel’s distinct critique of racial discourse. I argue that realism’s characteristic technique of appealing to the visible to establish the reality and realness of its fictions enables the novel to trace a similar operation in the discourse of race. My focus rests on the novel’s treatment of two pairs of characters that challenge the visual confidence of both realism and race, pairs that exemplify what Samira Kawash has called 'interracial twins:' sets of characters whose parties 'actually,' ostensibly belong to different 'races,' yet whom the text presents as strikingly similar in their appearance. In its characterization of and narratives surrounding these 'twins,' the novel exposes the techniques by which racial discourse naturalizes itself and unmasks race as a textual construct, generated by stories and documents that dangerously sustain a reality of their ownDieser Beitrag ist mit Zustimmung des Rechteinhabers aufgrund einer (DFG-geförderten) Allianz- bzw. Nationallizenz frei zugänglich
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AraÃjo, Humberto Alves de. "X. de Castro, o artista dos cromos: o romÃntico que foi o maior poeta realista do CearÃ." Universidade Federal do CearÃ, 2008. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=1992.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel SuperiorAnalisa a produÃÃo poÃtica de X. de Castro, dentro da perspectiva da historiografia literÃria, identifica as correntes estÃticas nas quais se insere e ressalta seu valor intrÃnseco e o que nela hà de original. Estabelece as aproximaÃÃes e afastamentos do estilo individual do autor em relaÃÃo aos estilos de Ãpoca predominantes no perÃodo no qual ele se insere e identifica as influÃncias de outros escritores sobre sua obra. Estuda criticamente os poemas romÃnticos de X. de Castro, com especial Ãnfase sobre os poemas inÃditos em livro. Analisa toda sua obra realista conhecida, os cromos, e identifica suas linhas temÃticas e recursos tÃcnicos usados para representar a realidade cearense. Apresenta a leitura que outros crÃticos e historiadores literÃrios fizeram de seus cromos, enfatiza seus acertos e corrige seus equÃvocos. Demonstra que X. de Castro foi fiel aos cÃnones do Romantismo durante toda a sua carreira, mas que em um Ãnico tipo de composiÃÃo poÃtica, os cromos, foi plenamente realista e superou outros poetas cearenses que se dedicaram a esse tipo de poema.
Analiza la producciÃn poÃtica de X. de Castro, dentro de la perspectiva de la historiografÃa literaria, identifica las corrientes estÃticas en las cuales se inserta y resalta su valor intrÃnseco y lo que en ella hay de original. Establece las aproximaciones y alejamientos del estilo individual del autor en relaciÃn con los estilos de Ãpoca predominantes en el periodo en el cual Ãl se inserta e identifica las influencias de otros escritores sobre su obra. Estudia crÃticamente los poemas romÃnticos de X. de Castro, con especial Ãnfasis en los poemas inÃditos en libro. Analiza toda su obra realista conocida, los cromos, e identifica sus lÃneas temÃticas y recursos tÃcnicos usados para representar la realidad de CearÃ. Presenta la lectura que otros crÃticos e historiadores literarios hicieron de sus cromos, enfatiza sus aciertos y corrige sus equÃvocos. Demuestra que X. de Castro fue fiel a los cÃnones del Romanticismo durante toda su carrera, aunque en un Ãnico tipo de composiciÃn poÃtica, los cromos, fue plenamente realista y superà a los otros poetas de Cearà que se dedicaron a ese tipo de poema.
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Araújo, Humberto Alves de. "X. de Castro, O Artista dos Cromos: O Romântico que foi o Maior Poeta Realista do Ceará." http://www.teses.ufc.br, 2008. http://www.repositorio.ufc.br/handle/riufc/3455.
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ARAÚJO, Humberto Alves de. X. de Castro, o artista dos cromos: o romântico que foi o maior poeta realista do Ceará. 2008. 142f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2008.Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-29T13:50:28Z No. of bitstreams: 1 2008_DIS_HAARAUJO.pdf: 4107400 bytes, checksum: 6cc8dd53024bac13d12e193598e6c660 (MD5)
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Made available in DSpace on 2012-07-23T16:16:22Z (GMT). No. of bitstreams: 1 2008_DIS_HAARAUJO.pdf: 4107400 bytes, checksum: 6cc8dd53024bac13d12e193598e6c660 (MD5) Previous issue date: 2008
Analisa a produção poética de X. de Castro, dentro da perspectiva da historiografia literária, identifica as correntes estéticas nas quais se insere e ressalta seu valor intrínseco e o que nela há de original. Estabelece as aproximações e afastamentos do estilo individual do autor em relação aos estilos de época predominantes no período no qual ele se insere e identifica as influências de outros escritores sobre sua obra. Estuda criticamente os poemas românticos de X. de Castro, com especial ênfase sobre os poemas inéditos em livro. Analisa toda sua obra realista conhecida, os cromos, e identifica suas linhas temáticas e recursos técnicos usados para representar a realidade cearense. Apresenta a leitura que outros críticos e historiadores literários fizeram de seus cromos, enfatiza seus acertos e corrige seus equívocos. Demonstra que X. de Castro foi fiel aos cânones do Romantismo durante toda a sua carreira, mas que em um único tipo de composição poética, os cromos, foi plenamente realista e superou outros poetas cearenses que se dedicaram a esse tipo de poema.
Analiza la producción poética de X. de Castro, dentro de la perspectiva de la historiografía literaria, identifica las corrientes estéticas en las cuales se inserta y resalta su valor intrínseco y lo que en ella hay de original. Establece las aproximaciones y alejamientos del estilo individual del autor en relación con los estilos de época predominantes en el periodo en el cual él se inserta e identifica las influencias de otros escritores sobre su obra. Estudia críticamente los poemas románticos de X. de Castro, con especial énfasis en los poemas inéditos en libro. Analiza toda su obra realista conocida, los cromos, e identifica sus líneas temáticas y recursos técnicos usados para representar la realidad de Ceará. Presenta la lectura que otros críticos e historiadores literarios hicieron de sus cromos, enfatiza sus aciertos y corrige sus equívocos. Demuestra que X. de Castro fue fiel a los cánones del Romanticismo durante toda su carrera, aunque en un único tipo de composición poética, los cromos, fue plenamente realista y superó a los otros poetas de Ceará que se dedicaron a ese tipo de poema.
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Kanzler, Katja. "'Race' and Realism - Vision, Textuality, and Charles Chesnutt’s The Marrow of Tradition." De Gruyter, 2009. https://tud.qucosa.de/id/qucosa%3A28632.
Full textAbstract:
In this article, I read Charles Chesnutt’s The Marrow of Tradition (1901) against the background of realism to unravel the novel’s distinct critique of racial discourse. I argue that realism’s characteristic technique of appealing to the visible to establish the reality and realness of its fictions enables the novel to trace a similar operation in the discourse of race. My focus rests on the novel’s treatment of two pairs of characters that challenge the visual confidence of both realism and race, pairs that exemplify what Samira Kawash has called 'interracial twins:' sets of characters whose parties 'actually,' ostensibly belong to different 'races,' yet whom the text presents as strikingly similar in their appearance. In its characterization of and narratives surrounding these 'twins,' the novel exposes the techniques by which racial discourse naturalizes itself and unmasks race as a textual construct, generated by stories and documents that dangerously sustain a reality of their own.Dieser Beitrag ist mit Zustimmung des Rechteinhabers aufgrund einer (DFG-geförderten) Allianz- bzw. Nationallizenz frei zugänglich.