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Keat, Jane. "Projections in black and white : cinematic construction; construction of a cinematic in Czech poetist prose of the 1920s." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365482.
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Kramer, Christi. "Poetics of return : toward poetic imagination and peacebuilding." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/46488.
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Toward a deeper understanding of poetic imagination, this poetic inquiry explores the creative process itself as a “wellspring that feeds the building of peace” (Lederach, 2005, p. 5). I position the study within the dialogic, as contemplative conversation, where utterance is a limitless continuum or whole (Bakhtin, 1986). I ask: Is it possible to write the world well? I listen to what poetry may say. I submit that “poetry witnesses us” (Milosz, 1983, p. 10) and that the gaze of poetry is courtesy (Lilburn, 1999).
This study attends to poetic image as an essential attribute of the qualitative research methodology called poetic inquiry. Poetic image is whole (Al-Ghazali, 2010) and it is trace. It may be understood as a place or state: a space for radical meeting (Forché, 1993) of self and other; a multidimensional location (Zwicky, 2011) of potential and tension; a threshold, dihliz (Al-Ghazali in Moosa, 2005). Where poetic image is motion, it may be vertical and verb. Poetic image is not equal to metaphor (Bachelard, 1960). It exists in the sensory world, a doorway into our perception and memory, “enabling us to locate and embody the invisible and the unknown” (Kwasny, 2012, p. 2). It is generative, first of the creative imagination (Ibn Arabi in Corbin, 1998), and exists possibly prior to thought (Al-Ghazali, 2010; Bachelard, 1960). Poetic image may be known as direct ontology (Bachelard, 1960, p. xvi), a phenomenology of the soul (Bachelard, 1960, p. xx). Where both the poetic image and phenomenology require active participation and deny passivity or enslavement to object, in poetic image there may be liberation.
Where “there is a sort of poverty of the spirit which stands in glaring contrast to our scientific and technological abundance” (King, 1964), might research performed in humility be an act of reconciliation? Or might poetry, “a source of innocence full of revolutionary forces” directed at a world “my conscience cannot accept” (Elytis, as cited in Ivask, 1981), be the “kind of knowing” Simon seeks, which could support the “reconstruction of social imagination in the service of human freedom?” (Simon, 1992, p. 4).
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Giordano, Matthew. "Dramatic poetics and American poetic culture, 1865-1904." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1092701770.
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Thesis (Ph. D.)--Ohio State University, 2004.Document formatted into pages. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 Aug. 18.
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Campbell, Charles. "Poets and Poetics in Greek Literary Epigram." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384333736.
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Koutrianou, Eleni. "The emergence and crystallization of the poetics of Odysseas Elytis." Thesis, University of Oxford, 1997. http://ora.ox.ac.uk/objects/uuid:67c25cfb-3860-497e-9402-46ebafdd753d.
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This thesis examines the poetics of Odysseas Elytis, which, it is argued, emerged from his intense theoretical work on poetry in the period between 1944 and 1960, and was crystallized in the poems he published from 1960 to 1995. Elytis' poetics is examined in this thesis through the exploration of his ideas on the status and function of poetry, on the role of the poet, and on poetic writing; it is also examined through the exploration of the poetry in which these ideas are put into practice. It is argued in this thesis that Elytis' poetics emerged from his effort to provide his poetry with a concrete theoretical basis, an endeavour he deliberately undertook in the 1940s and 1950s; the evolution of his thought coincided chronologically with the period broadly between 1944 and 1960, that is, the period during which he wrote poems but did not proceed to publish any book of poetry. Elytis' thought reached a point of external stabilization before 1960, since in the poetry he published that year his ideas are systematically put into practice. With the publication of these poems, his poetics entered the dynamic phase of crystallization, which prevails throughout his poetic writing from 1960 to 1995, and constitutes a process during the course of which he explored the internal perspectives opened up by the theoretical frame he set for himself in the years 1944-1960. This thesis explores Elytis' theoretical endeavour and his poetic practice, and examines both the emergence of his ideas in the period between 1944 and 1960 and the crystallization of these ideas in the poetry he published from 1960 to 1995.
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Simonyan, Astghik. "Poetics of the same : a philosophical poetic recourse into sameness." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1278.
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This study endeavours to investigate the philosophical and poetological dimensions, the philological origins, and significant philosophical-literary representations of the Same. It also assesses sameness as a philosophical and poetological modus operandi; that is to say, it analyzes the ways in which the Same operates in different types of discourses both as an object of investigation and as an agent of (poetic) thought. The concept of the Same or the operation of sameness as the philosophical question par excellence will be considered in the development of Continental philosophy and philosophical poetics from classical antiquity to Postmodernism, and its transposition into poetry. The elaboration of the issue of sameness encompasses any philosophical inquiry which seeks to establish the essence of Being and make it susceptible to a general, unifying principle: as a search for an underlying element; for a metaphysical unity or universal, preceding division or difference and amounting to the harmony in the Universe; or for a transcendental absolute totality. Postulations of the pure conceptual difference are likewise examined as part of the elaboration of sameness, and will be viewed as indispensable for revealing the genuine plenitude of sameness. Part One traces the inception of sameness as a concept of pure identity, amounting to the harmony of the Universe by virtue of the operations of belonging (Presocratics), participation (Plato), and emanation (Plotinus), anchored in the relationships between the One and the many, between the Whole and its parts, between the Original and the copy. Part Two inquires into the limits of postulating sameness in terms of pure identity and points to two possible solutions to this problem: a philosophical-aesthetic digression from sameness (Kant and related aesthetic theories of the seventeenth and eighteenth centuries) and the return to sameness as an absolute totality in Part Three (Schelling and Hegel). Part Four investigates the re-postulation of sameness as pure Difference (Nietzsche, Heidegger, Derrida), hence the entire re-organization of thought in terms of the other. Part Five analyzes the transposition of sameness from 3 philosophy into the poetic language of repetition, using Rilke’s Sonnets to Orpheus as its prime poetic example. It will be argued that the philosophical displacement of the Same from a concept of identity into that of difference does not amount to an abandonment of its plenitude, but rather points to the need for a precarious balance between sameness and difference, the simultaneous quest for unity and the absolute singularity of the other. This balance, it will be argued, must be sought for in every genuine creation.
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Seibel, George L. IV. "Being a Poet." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1346412172.
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Martin, Seth M. "The Poetics of Return| Five Contemporary Irish Poets and America." Thesis, The University of North Carolina at Chapel Hill, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3562770.
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A thematic study grounded in transnational and transatlantic studies of modern and postmodern literatures, this dissertation examines five contemporary Irish poets—John Montague, Padraic Fiacc, James Liddy, Seamus Heaney, and Eavan Boland—whose separation from Ireland in the United States has produced a distinct body of work that I call, "the poetics of return." As the biological heirs of the Civil War generation and the intellectual heirs of the Irish high modernists, these poets are some of the leading lights of the renaissance in Irish literary arts after midcentury.
This dissertation argues that an important aspect of this era has been its reevaluation of narratives of political and artistic exile; those created by nationalists and republicans, on the one hand, and modernists such as James Joyce and Samuel Beckett, on the other. Drawing on the criticism of Patrick Ward and Seamus Deane, I argue that the atomization of the critical vocabulary of exile has enabled modern poets greater means to consider the cultural anxieties surrounding their separation from Ireland. Accordingly they have become less interested in the meaning of leaving Ireland and more interested in the meaning of return. This project engages a range of scholarly literature devoted to the Irish poets and poetry of the last half century and reevaluates a number of standard readings and assumptions.
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Bugan, Carmen. "Poetics of exile : East European poetry in translation and Seamus Heaney's Ars Poetica." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408092.
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Janulevičius, Marius. "Absurdo poetika Juozo Erlicko "Prisimynimuose"." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060623_123217-11681.
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Absurd literature originated and was developed in the middle of the 20 th century in the West. The brightest representatives of this type of literature are Albert Camus, Eugene Ionesco, Samuel Becket and others. In their works they raised the problem of meaninglessness of human existence, loneliness of an individual and man’s inability to communicate with other people. Are these absurd literature ideas topical issues in contemporary Lithuanian literature?
The poetics of Absurd literature in Lithuanian literature practically has not been researched. One reason might have been that there has not been pure Lithuanian literature of the Absurd, except for perhaps Kostas Ostrauskas’s plays. The other reason is probably the fact that the manifestation of absurd literature is often accepted as an ironic, humorous and not very serious text component. This paper deals with a collection of poems and fiction called „Prisimynimai“ by Juozas Erlickas, National Prize Laureate. The main intention of the paper is to prove that an absurd attitude of mind is not alien to Lithuanian literature.
The main characters of J. Erlickas’s works feel inactive, pessimistic, they do not see meaning in life, try to avoid contact with the surrounding world. This makes them very similar to the classical absurd literature characters, who are also constantly troubled by boredom and a sense of aimlessness.
One of the main themes in Erlickas’s works is a theme of human alienation, which is expanded by the writer... [to full text]
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Hurley, Claire. "The poetics of site : reading the spaces of experimental US women poets." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/67055/.
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My PhD research centres on three innovative 20th Century American women poets: Lorine Niedecker, Barbara Guest and Susan Howe. Taking inspiration from Virginia Woolf's A Room of One's Own, my research examines how these poets inhabited specific compositional sites. My thesis draws on extensive archival research to reconstruct a picture of the woman poet at work, arguing that for the female experimental poet in the 20th century, the compositional site - namely the workroom that the poet occupied - functions as a critical foundation for the evolution of her poetics. By attending to the particulars of Niedecker's cabin, Guest's studio and Howe's archive, my work considers the intersections between lived, imagined, and textual spaces. In so doing, it asks the following questions: what does it mean for a poet to occupy a certain kind of space? How can the literary work be read as generative or representative of such a site? What does the rendering of such spaces reveal about the topology of the female American avant-garde? The physical writing site is both highly specific to each poet and reveals broader collective investments in inhabiting gendered space. My site-based research responds to the lacunae of the women's literary tradition by rematerializing the quotidian space of female poetic experience. In mapping these sites, I formulate new versions of what Julia Kristeva calls 'l'écriture féminine'; the poetics of site works to articulate the singularities of individual authors whilst simultaneously formulating a new community of female poets. I argue that to challenge the hegemony of male-dominated poetic research cultures, we must find new ways to read women against the American grain. The Poetics of Site offers up one such feminist methodology, building a refuge for exploring the experimental female poet on her own terms.
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Warner, Ahren. "Contradictions in coherence : three poets and the poetics of the commodity as fetish." Thesis, Queen Mary, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612567.
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Bertram, Vicki. "Muscling in : a study of contemporary women poets and English poetic tradition." Thesis, University of York, 1992. http://etheses.whiterose.ac.uk/2490/.
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Strems-Tregear, Ineta. "The construction of poetic identity in three women poets: Pozzi, Mistral, and Akhmatova." Thesis, Wichita State University, 2012. http://hdl.handle.net/10057/5375.
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This paper explores the construction of poetic identity in three women-poets: Catherine Pozzi, Gabriela Mistral, and Anna Akhmatova by studying relationships between the poets’ life and their poetry. It is focused on tragic or controversial situations in these poets’ lives and the reflections of these situations in images of love and suffering in their poems. My intention is to show that biographical approach retains its value in literary criticism under condition that its limitations are acknowledged. The dark, intertexual, and mysterious images of love and suffering in Pozzi’s poems reflects her poetic identity, which was formed as “sum-total” (Leslie Fiedler) of her knowledge of literature, philosophy, religion, and science; her cultural and intellectual environment; her sophisticated personality together with her sensitivity and long physical struggle with incurable illness. I can only speculate on Mistral’s possible lesbian identity by analyzing her poetry because poetic identity and biographical facts are not the same. Some expression of suffering of her poems certainly relates to the image of “other” woman that Mistral wanted to kill. Akhmatova’s famous cycle Requiem is autobiographical, but it would be a mistake to reduce the poem to the tragic story of her life. Requiem includes many poetic identities: poetic “I”, but also “we” who can be Russian women, those who suffered with Akhmatova, or those who mourned their dead in other historical times, or unnamed peasant woman who was crying on the river Don, or even Virgin Mary when she was staying in silence next to her dying son. We conclude in thesis that there is no direct connection between the poets’ life and their poetic identities; this connection is always mediated. But learning about poets’ live experiences adds more to the meaning and understanding of their poetry.Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of Modern and Classical Languages and Literature
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Owen, Ruth J. "The poet's role : lyric responses to German unification, by poets from the GDR." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324345.
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Woods, Timothy Stephen. "Poetics and politics in the writings of Louis Zukofsky, Charles Olson, and the #Language' poets." Thesis, University of Southampton, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316467.
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Barry, K. M. "Language, music and the sign : A study in aesthetics, poetics, and poetic practice form Collins to Coleridge." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377253.
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Williams, Todd Owen. "Poetic Renewal and Reparation in the Classroom: Poetry Therapy, Psychoanalysis, and Pedagogy with Three Victorian Poets." [Kent, Ohio] : Kent State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1194103428.
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Thesis (Ph.D.)--Kent State University, 2007.Title from author submission page (viewed Sept. 14, 2009 ) Advisor: Mark Bracher. Keywords: poetry therapy, psychoanalysis, Victorian poetry, pre-Raphaelite. Includes bibliographical references (p. )
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Abu-Hejleh, Norma Ismail Mohamad. "Fadwa Tuqan: a poetisa palestina." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8159/tde-14032014-102737/.
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Mulher, poetisa, guerrilheira sem armas, mas com alma feminina, a qual Moshe Dayan, ex-ministro da guerra israelense, disse, referindo a ousadia e a coragem da poetisa no uso das expressões nos seus poemas: \"cada um dos poemas de Fadwa Tuqan faz dez guerrilheiros\". Fadwa Abdel Fattah Agha Tuqan, uma grande poetisa palestina que se destacou e deixou sua marca por diversas gerações através da literatura, das palavras expressas, antecipando por décadas a liberdade de expressão. Tinha coragem e ousadia numa época na qual a tradição era a lei de maior autoridade, na qual o homem era o único dono da verdade e o único digno de liberdade, onde era proibida a pronúncia da palavra amor pelo gênero feminino. A rígida sociedade árabe tem negado a muitas das poetisas e dos poetas árabes revelar suas ricas experiências emocionais, incluindo Fadwa que teve muitas experiências de amor humano, riquíssimas de intensidade, tornou-se a dama da poesia árabe moderna e encantou-nos com as suas melodias poéticas recheadas com muita sensibilidade e fortes expressões. Para Fadwa, o amor representa o vigor máximo da força feminina, e através dele a mulher exerce tudo o que lhe foi negado, tudo sob o nome do amor, por isso o amor é uma tábua de salvação. Casou-se com a poesia, e deu à luz centenas dos seus belos poemas, que foram lançados no livre espaço árabe, mesmo prisioneira de tradição, e da arbitrariedade das relações sociais e familiares do sistema rígido, que não lhe permitiu revelar, em sua autobiografia, quem eram seus amores secretos no mundo árabe, o que a obrigou a ocultá-los totalmente em sua autobiografia. Demonstrou em seus poemas e poesias as tragédias, privações, mortes, separações, raiva e a reprimida revolução silenciosa. Fadwa Tuqan é uma das poucas poetisas árabes que estabeleceu uma ligação entre a poesia antiga com o Movimento de Inovação e Modernidade, saindo dos métodos clássicos da poesia Árabe Antiga, de maneira simples e não artificial, adquirindo pontos importantes em sua força interior, conservando o ritmo musical antigo e o ritmo interno moderno, formulando sua poesia musical. Suas poesias caracterizam-se pela força do vocabulário e pela excelente combinação e forte tendência para a narrativa e para as questões existenciais, baseadas em argumentos prontos, fazendo dos seus poemas diálogos com as idéias, ao invés de uma demonstração dos sentimentos.Woman poet, guerrilla unarmed, but with the feminine soul, which Moshe Dayan, ex- Israeli minister of war, said of the daring and courage of the poet in use of words in her poems: \"every poem of poems by Fadwa Tuqan makes ten guerrillas\". Fadwa Abdel Fattah Agha Tuqan, a great Palestinian poet who stood out and left her mark on several generations through literature, the words uttered, anticipating by decades the freedom of expression. She had courage and boldness at a time when tradition was the law of higher authority, in which man was the master of truth and worthy of freedom, where it was forbidden to pronounce the word \"love\" for women. The Arab rigid society has denied many of the Arab poets and poetesses of revealing the rich emotional experiences, including Fadwa had many experiences of human love, very rich intensity. Became the queen of modern Arabic poetry and delighted us with his poetic melodies filled with great sensitivity and strong expressions. For Fadwa, love is the maximum force strength of women, and through it the woman does all she has been denied, all under the name of love, so love is a siege of save. Se married poetry and gave birth to hundreds of his beautiful poems, which were launched in the free Arabic space, even those who wrote these poems, being a prisoner of tradition, and the arbitrariness of social and family relationships of the system drive, did not allow her in diseases in her autobiography who his secret loves in the Arab world, which forced to hide them completely in her autobiography. Shown in her poems and poetry tragedies, hardships, deaths, separations, anger and repressed silent revolution. Fadwa Tuqan is one of the few Arab poets who established a link between the ancient poetry with the Movement for Innovation and Modernity, leaving traditional methods of ancient Arabic poetry, simply and not artificial, gaining important points in your inner strength, keeping the musical rhythm and pace antic domestic modern musical formulating her poetry. His poems are characterized by the strength of your vocabulary and excellent combination and a strong tendency for narrative and existential questions based on arguments ready, making the dialogues of her poems with the ideas, rather than a statement of feelings.
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Ma, Xuecong. "The Crescent Moon School : the poets, poetry, and poetics of a modern conservative intellectual group in Republican China." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25761.
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The Crescent Moon School (新月派Xinyue pai) is a Chinese intellectual group that was active from 1923 to 1934. Its members include Xu Zhimo 徐志摩(1897-1931), Hu Shi 胡适 (1891-1962), Liang Shiqiu 梁实秋(1903-1987), Wen Yiduo 闻一多(1899-1946), Luo Longji 罗隆基(1896-1965), and many other Anglo-American educated scholars in the Republican era. Although the group was engaged in various activities, poetry was their primary concern and their most notable practice. This thesis intends to solve two problems: 1) what common values or core spirit guided the various cultural practices of the group? 2) what are the poetic features and underlying poetics of the group as a whole? To answer the two questions, this thesis firstly examines the core spirit of the group by reviewing their activities and historical development. It argues that underlying the various activities and facts, there was a core spirit shared by the group. This core spirit, which I refer to as the “modern conservative spirit”, reflected a unique understanding of modernity that was different from that of the May Fourth discourse. They understood modernity not as a negation of tradition, but as a critical synthesis and mutual conformity between the old and the new, the local and the global. I show how the Crescent Moon intellectuals acquired this core spirit, and how it was displayed in their various activities. Secondly, this thesis provides detailed textual analysis of several Crescent Moon poems and reconstructs their poetics. It argues that their poetics demonstrated three faces, i.e. a romantic temperament, a classic ideal, and a modern consciousness. The three faces coexisted throughout the poetic practice of the group, although a certain face might have dominated in a certain period. I demonstrate how the three faces were unified under the guidance of the modern conservative spirit, and I argue that the simultaneousness of the three faces embodied the modern conservative intellectuals’ pursuit of literary modernity. By discussing the core spirit and poetics of the Crescent Moon School, this thesis concludes that the group was a missing link in Republican modern conservative trend, linking the late 1910s and early 1920s neotraditionalist thinkers with the mid-1930s Beijing School writers. The modern conservative intellectuals represented a dissenting voice in the Republican era, but they were also committed pursuers of modernity and cosmopolitanism.
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Mackay, John. "Towards a poetics of overtakelessness : the work of contemporary elegy in the writing of five North American poets." Thesis, Birkbeck (University of London), 2015. http://bbktheses.da.ulcc.ac.uk/111/.
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This thesis addresses a condition of ‘overtakelessness’ – a word used by Emily Dickinson to refer to the irretrievability of the dead – developing it as a conceptual framework to explore contemporary elegy in the work of five North American poets: Susan Howe, Mary Jo Bang, Anne Carson, Dean Young, and Mark Doty. Overtakelessness, a term to describe that which is unavoidable but cannot be encompassed, serves to illuminate the divide between desire and fulfilment in poetic encounters with loss. In Chapter 1, I argue that Susan Howe’s ethical configuration of lost others as retrieved textual traces from the archive represents her attempt to establish a visual and material conception of overtakelessness, and places under scrutiny the role of language in the scene of elegy. I show in Chapter 2 that Mary Jo Bang’s failure to reach her son can be attributed to the fact that language, like the sought other, has an unfathomable surplus that cannot be encompassed, and that the printed word is unequal to the task of articulating grief. In Chapter 3, Anne Carson’s interaction with personal relics represents an exploration of what constitutes her brother’s absence, and an implicit recognition that material objects – and the overtakelessness that they carry into her work – have supplanted his presence. Chapter 4 demonstrates that an engagement with overtakelessness is problematised further by the poet’s preoccupation with an unassimilable self as Dean Young’s alter ego undergoes an imagined disintegration. Finally, in Chapter 5 I propose that for Mark Doty overtakelessness has personal, social and political dimensions as he responds to an actual catastrophe, the AIDS epidemic, and explores the tension between private and public loss. I show in this thesis that overtakelessness emerges in the poetic space, suggesting that the elegy’s encounter with the dead might equally be described as a negotiation with overtakelessness itself.
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Wooding, Jonathan. "Natural strange beatitudes : Geoffrey Hill's The Orchards of Syon, poetic oxymoron and post-secular poetics, and, An Atheist's Prayer-Book." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3223.
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Geoffrey Hill’s The Orchards of Syon (2002) occupies a contradictory position in twenty-first century poetry in being a major religious work in a post-religious age. Contemporary secular and atheistic insistence on the fundamentally crafted and flawed nature of religious faith has led Hill not to the abandoning of religious vision, but to a theologically disciplined approach to syntax, grammar and etymology. This dissertation examines Hill’s claim to a poetics of agnostic faith that mediate his alienation from a cynical and debased Anglophone contemporaneity. The oxymoronic nature of a faith co-existent with existential loss is the primary focus. The semantic distinction between paradox and poetic oxymoron is examined, and the agonistic and aporetic dimensions of the oxymoron are considered as affording theological significance. Poetic oxymoron as site of both foolish babbling and Pentecostal exuberance is made explicit, as is Hill’s relation to the oxymoronic nature of beatitudinous expression and the Kenotic Hymn. Hill’s reading of and relation to other theologically engaged poets is outlined. Thomas Hardy’s tragic-comic vision, Gerard Manley Hopkins’ restrained rapture in ‘The Windhover’, and T. S. Eliot’s expression of kenotic dissolution in ‘Marina’ are read as precursors to Hill’s revisionary God-language. William Empson’s significant difficulties with aspects of Hopkins’ and Eliot’s poetics is appraised as evidence of an oxymoronic and theological dimension within poetic ambiguity. Hill’s imperative to embody and enact theological vision and responsibility is tested in a reading of The Orchards of Syon. Paul Ricoeur’s perception of the religious significance of atheism is provocation for my own creative practice, as is the performative theology implicit in both Graham Shaw’s hermeneutic approach, and Hill’s visionary philology. Creative process draws on Simone Weil’s notion of decreation, the kenotic paradigm as exemplified in the life and writings of Dietrich Bonhoeffer, and the continuing secular vitality of the apostrophic lyric mode.
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Virbukienė, Eglė. "The Poetics of the Bildungsroman in “Great Expectations” by Charles Dickens, “Of Human Bondage” by William Somerset Maugham and “The Cider House Rules” by John Irving." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130802_123415-73676.
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The object of the present research is the features of the Bildungsroman genre “Great Expectations” by Charles Dickens, “Of Human Bondage” by William Somerset Maugham and “The Cider House Rules” by John Irving.
The aim of the Bachelor Thesis is to explore structural and poetic elements (canons) of the Bildungsroman in the aforementioned novels.
To achieve the aim the following objectives have been set: 1) to overview the history of the Bildungsroman and to present theoretical poetic elements of such a genre; 2) to identify the key features of the Bildungsroman in the aforementioned novels; 3) to carry out the comparative analysis of the novels in the aspect of the Bildungsroman.
The methodology of the Bachelor Thesis includes Jerome Buckley’s conception of the Bildungsroman, which was employed to trace the features of the Bildungsroman in chosen novels. Also, Gintaras Lazdynas’s structural and poetic elements (canons) of the Bildungsroman, presented in his book, were referred to in the present research were used. The comparative literature as a method (the definition of Tötösy de Zepetnek) enabled to analyze novels in the comparative aspect.
Novels portray typical protagonists of the Bildungsroman genre whose quest towards self-identity is long, gradual and full of challenges. However, such journey towards spiritual maturity is crucial, as it provides heroes with a life education and new experiences. Therefore, at the end of their journey, after completion... [to full text]Darbo objektas – bildungsromano žanrinės ypatybės Charleso Dikenso romane „Didieji lūkesčiai“, Williamo Somerseto Maughamo romane „ Aistrų našta“, bei Johno Irvingo romane ‚ „Sidro namų taisyklės“. Bakalauro darbo tikslas – atskleisti, kaip pasirinktuose romanuose atsispindi tradiciniai bildungsromano žanro struktūriniai ir poetiniai elementai (kanonai). Tikslui pasiekti buvo iškelti šie uždaviniai: 1) apžvelgti bildungsromano istoriją, bei pristatyti šio žanro kanonus (poetinius ir struktūrinius elementus); 2) atpažinti pagrindines bildungsromano žanro ypatybes pasirinktuose kūriniuose; 3) analizuoti romanus lyginamuoju bildungsromano aspektu. Bakalauro darbo metodologija apima Jerome’o Buckley’o bildungsromano koncepciją, norint identifikuoti šio žanrinio tipo romano ypatybes pasirinktuose kūriniuose. Taip pat darbe buvo naudojami Gintaro Lazdyno išskirti bildungsromano struktūriniai ir poetiniai elementai (kanonai). Komparatyvistinė literatūra kaip metodas (Tötösy de Zepetneko apibrėžimas) leido analizuoti tris grožinės literatūros romanus lyginamuoju aspektu. Romanai vaizduoja klasikinius bildungsromano protagonistus, kurių kelias link harmonijos bei savęs suradimo yra ilgas, laipsniškas bei pilnas išbadymų. Toks kelias, vedantis link dvasinės brandos, yra labai svarbus, nes būtent šios kelionės metu herojai pereina gyvenimo mokyklą bei įgyja naujos patirties. Būtent dėl šios priežasties savo kelionės pabaigoje, įveikę įvairias dvasinio vystymosi... [toliau žr. visą tekstą]
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Francis, Emma Jane. "Poetic licence : British women's poetry and the sexual division of poetics and culture - 1824-1889, Letitia Landon, Amy Levy, Emily Bronte." Thesis, University of Liverpool, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309912.
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CABRAL, SIMONE GARRIDO ESTEVES. "MATCHES POETICS: CULTURAL LIFE AND POETIC CREATION IN THE LETTERS OF MARIO DE ANDRADE, MANUEL BANDEIRA AND CARLOS DRUMMOND DE ANDRADE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=16294@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOREsta pesquisa tem como objetivo abordar questões relativas à construção poética, à função da poesia, ao papel do poeta e à vida cultural expressas nas correspondências pessoais de autores cujas obras e vida refletem uma busca estética e são representativas do modernismo brasileiro. Pretende-se, portanto, abordar questionamentos do próprio poeta em relação à criação literária, ao seu projeto poético e de seu interlocutor, por meio das correspondências. Os atores principais dessa pesquisa são os poetas Mário de Andrade, Manuel Bandeira, Carlos Drummond de Andrade que, em suas correspondências e em suas obras, demonstraram perseguir um projeto estético e estarem dispostos a discutir suas trajetórias poéticas e culturais, impondo às correspondências, por muitas vezes, uma dimensão crítica e auto-reflexiva, mas, também, revelando fatos da vida cultural brasileira e seus personagens. Ou seja, propomos olhar um conjunto epistolar como possível revelador de acontecimentos, experiências históricas e, com certeza, individuais, entendendo que as cartas deixam, ainda, entrever sentimentos, reações e complexidades do ser que, somados às obras literárias, deverão permitir contrapontos, interações, permanências e ratificações da própria obra artística.
This research aims to address issues of poetic construction, the function of poetry, the role of poet and cultural life expressed in the personal letters of writers which work and life reflect na aesthetic search. They represent the Brazilian modernism and discussions that interfere and cause collisions in this cultural and aesthetic time. This dissertation addresses questions of some poets by themselves in relation to their creative writing through their personal letters. The main actors of this research are the poets Mário de Andrade, Manuel Bandeira, Carlos Drummond de Andrade who in their letters and works demonstrated pursue an aesthetic design and are willing to discuss their careers and cultural poetics by requiring matches for many times, a critical and self-reflexive view, but also revealing facts of Brazilian cultural life and its characters. The present research examines the whole letter-writing as possible telling events, historical and individual experiences, understanding that letters make, and perceive feelings, reactions and complexities of being that, together with literary works, should make counterpoints, interactions, continuity and ratifications of their artistic work.
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Greer, Janice. "Sir Walter Ralegh's verse conversations." Thesis, Virginia Tech, 1996. http://hdl.handle.net/10919/42592.
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Sir Walter Raleigh's poems, as tghey circulated in manuscripts, are influenced by Raleigh's position at court, his social situation, the patronage system, and the political scene. Even though many scholars believe that often verses were copied groups according to theme, careful consideration shows that verses that have been tradionally seen as related by theme have a stronger connection. The context of the peom can reveal a great deal about the intention of the author and the situation about which the author wrote.Master of Arts
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Terne, Clara. "Space + Poetics." Thesis, Konstfack, Grafisk Design & Illustration, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-123.
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I often ponder over the physical limitations of everyday life. The sense of my body being trapped in the here and now, in being able to imagine so much and experience so little in comparison, and the downhearted disappointment of it all. In my Master project Space + Poetics at Konstfack (2010) I have confronted these issues. I have tried to find ways to bridge the gap between the physical place and the mental space. I strive to create escapes from our rigid surroundings – to create little holes in the everyday where the void creates content.
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Solorio, Savannah. "The Poetess." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/980.
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After a thwarted assassination attempt, renowned poet Sappho is forced into exile in ancient Sicily, where her hubris and terrible advice on love from Aphrodite jeopardizes her dreams of artistic greatness.
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Kšicová, Barbora. "Poetika struktur." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2012. http://www.nusl.cz/ntk/nusl-232348.
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The practical thesis is based on a visual experimental poetry and its sign system. I am working with own sign system which was inspired by organized fence's structures. These structures were depicted by typographical signs which creates a new graphical compositions. Whole work is organized into three separated author's books. Their interconnection is emphasized by putting into a common case. The first book entitled Poetry of structure – Inspiration establishes contact with readers by means of photographs of spaces and fence's structures. The second book entitled Poetry of structure – Manual is an interlink of the work which informs readers both with the fence's structures and with the typographical compositions. Confrontation of the fence's photographs with the typographical compositions developed an advancement of the reality transformation to the abstract structure. The third book entitled Poetry of structure is the integral poetic anthology. The book presents both the blind blocking of typographical compositions themselves and the final experimental poems based on them.
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Berisso, Marco. "La raccolta dei poeti perugini del Vat. Barberiniano Lat. 4036 storia della tradizione e cultura poetica di una scuola trecentesca /." Firenze : L.S. Olschki, 2000. http://catalog.hathitrust.org/api/volumes/oclc/44135461.html.
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Young, Gwynith. "Poets, belief and calamitous times /." Connect to thesis, 2006. http://eprints.unimelb.edu.au/archive/00002513.
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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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Malmqvist, Jenny. "Belfast Textiles : On Ciaran Carson’s Poetics." Doctoral thesis, Linköpings universitet, Avdelningen för moderna språk, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-97390.
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This thesis is a study of the formation and development of Ciaran Carson’s poetics from his debut in the 1970s up to and including his fourth principal collection of poems, First Language, published in 1993. Examining Carson’s recourse to different kinds of rewriting, made manifest as intertextuality and translation, it aims to account for the thematic formulation and formal realization of this poetics. The poetics is elicited from two distinct groups of poems. The first group comprises poems, given in the consecutive volumes The Lost Explorer (1978), The Irish for No (1987), Belfast Confetti (1989) and First Language, in which textile techniques serve metaphorically as poetic techniques. These poems are read as formulating a poetics which is formally realized in a second group of poems in which rewriting is the dominant technique. By examining the textile/textual metaphors, and their gradual reconfiguration, and the different manifestations of rewriting in Carson’s work the thesis seeks to describe and demonstrate some of the main principles and expressions of this poetics and its development over time. The thesis sees rewriting as integral to Carson’s poetic method: Earlier texts are deliberately drawn upon and made a constitutive part of a new poem. To account for the textual relations and their effect on meaning-making perspectives are borrowed from theories of intertextuality, especially intertextuality as conceptualized by Gérard Genette and Laurent Jenny, as well as from contemporary translation studies and poetics. A theoretical framework is also provided by the textile/textual metaphors which are employed as analytical tools. It is argued that rewriting is not an end in itself but an important means for the poet to articulate his views on both aesthetic and historical issues. The thesis relates the practice of rewriting to a prominent concern in Carson’s work: the relation between form and material and how to adequately express the complicated experiences associated with Northern Ireland in poetic form. The thesis contends through detailed analysis of Carson’s strategies of rewriting that his persistent recourse to recycling discloses his attentiveness to his own poetic expression and that his poetics should be seen as both an aesthetics and an ethics – an evolving response along both aesthetic and ethical lines to the complexities of his situation and his role as a poet.Avhandlingen är en studie av den nordirländske poeten Ciaran Carsons poetik, dess framväxt och utveckling till och med Carsons fjärde diktsamling, First Language, som publicerades 1993. Genom en undersökning av Carsons användning av olika slag av omskrivning, manifesterade som intertextualitet och översättning, syftar avhandlingen till att ge en redogörelse för hur Carsons poetik har tematiskt formulerats och formellt realiserats. Carsons poetik friläggs genom ett närstudium av två grupper dikter. Den första gruppen består av dikter från samlingarna The Lost Explorer (1978), The Irish for No (1987), Belfast Confetti (1989) och First Language, där textila tekniker tjänar som metaforer för poetiska tekniker. Dessa dikter läses som formuleringar av en poetik som förverkligas i en andra grupp dikter där omskrivning är den huvudsakliga tekniken. Genom att undersöka dikternas textila/textuella metaforer och deras gradvisa omvandling samt olika manifestationer av omskrivning i Carsons verk, söker avhandlingen beskriva och demonstrera några av de huvudsakliga principerna i Carsons poetik, liksom de uttryck dessa tar sig, samt hur dessa principer och uttryck förändras över tid. Avhandlingen ser omskrivning som en väsentlig del av Carsons poetiska metod. Tidigare texter får tjäna som underlag för en ny dikt. När det gäller textuella relationer och deras betydelseskapande kraft stöder jag mig på teorier om intertextualitet, främst Gérard Genettes och Laurent Jennys, liksom på perspektiv hämtade från samtida översättningsteori och poetik. Teoretiska perspektiv ges också av de textila/textuella metaforer som används som analytiska redskap. Omskrivning är dock inte ett mål i sig för Carson, utan ett viktigt sätt för poeten att artikulera sin syn på både estetiska och historiska frågor. I avhandlingen relateras omskrivningens praktik till något som upptagit Carson i hela hans författarskap: förhållandet mellan form och material och hur de komplexa nordirländska erfarenheterna ska kunna ges ett adekvat poetiskt uttryck. Utifrån en detaljerad analys av Carsons omskrivningsstrategier hävdas att hans genomgående bruk av återanvändning återspeglar en höggradig medvetenhet om det egna poetiska uttrycket. Hans poetik ska ses som både en estetik och en etik – ett sätt att fortlöpande återknyta, längs både estetiska och etiska linjer, till den komplexa situation han befinner sig i och till hans roll som poet.
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Tidstrand, Sofie. "En arkitektonisk tolkning av en poetisk förhoppning." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-229900.
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Att läsa Edith Södergrans dikter kan vara en nästintill fysisk upplevelse, och om Södergrans dikter skulle tolkas som rum, hur skulle då de rummen vara utformade? Syftet med detta projekt har varit att undersöka vilka rum och rumsupplevelser som kan genereras ur utvalda dikter skrivna av Södergran. Baserat på en subjektiv undersökning diskuterar projektet diktjag i relation till form, där diktjagets känsloläge översätts till rumsliga upplevelser och kvalitéer. För att kunna strukturera översättningen av litteratur till arkitektur influeras projektet av en litteraturvetenskaplig, hermeneutisk teori om tematisk analys. En stor del av projektet består av formsökning, genom orientering i formspråk och tolkning av ord till form. Projektet har utvecklats till en sekvens av rum som tolkas som en tunnelbanestation. Då rum och form ska vara i fokus har programmet använts som en fond för projektet, för att få fram och förstärka rumsliga kvalitéer.
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Thomas, Shannon L. "“An Obtrusive Sense of Art”: The Poetess and American Periodicals, 1850–1900." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1280934312.
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Thornbury, Emily Victoria. "Anglo-Saxon poetics." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615780.
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Cui, Wendong, and 崔文东. "Politics vs. poetics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B47752981.
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Up to now, in the field of translation studies, late Qing translated fictions have still been termed by many scholars as “liberal translation” or “domesticating practice” lacking literary values, or generalized by some others as “rewriting” or “manipulation” completely distorting the originals, which has led to an undervaluation of those works. In the field of historical studies, although researchers have attached much importance to late Qing translations like Yan Fu’s renditions of social and political theories which had profound impact on Chinese intellectual history, translated fictions are still beyond their sight. Based on my critique of previous studies, this research attempts to study five late Qing Chinese translations of Robinson Crusoe from the perspective of intellectual history to explore the historical significance of those works.
As one of the most frequently translated fictions at that time, Robinson Crusoe drew the attention of many Chinese intellectuals because of its ideological significance rather than literary values. On the one hand, aiming at publicizing new ideas to readers under influence of Chinese tradition, late Qing translators tried to deal with the contradictions between new ideas and traditional ideas, thus showing their cultural stance. On the other hand, influenced by the elites’ proposal of enlightening common people with fictions, translators endeavored to bridge the gap between elite discourse and popular culture, thus reflecting the extent of the reception of elites’ ideas.
Based on textual and contextual comparisons, it is easy to see that the translators all looked to the novel, Robinson Crusoe, for national salvation, believing that their renditions would be able to arouse adventurous spirit among Chinese people, and tried to reshape the relation between citizen, nation, family and the self in their renditions. First, they either made Crusoe a patriot or linked the adventure with national salvation although in the original, Crusoe’s adventure has no relation with nationalism. Second, the translators all advocated a new ethical idea by, on the one hand, defending Crusoe’s disobedience to his father and, on the other hand, changing his lack of filial affection. Third, as the economic and puritan individualism Crusoe embodied in the original conflicted with Chinese ethics, all translators transformed the individualist into either Confucian or altruist. Thus the translators’ changes, additions, deletions and explanations in and out of the renditions fully showed the trend of thought in late Qing from the perspective of intellectual history.
Obviously, different late Qing translators of Robinson Crusoe tackled the same cultural conflicts in similar ways, which offers us an opportunity to study late Qing translated fictions systematically. In so doing, the new mode of study enhances our understanding of the general trend of thought in late Qing and the historical significance of late Qing translated fictions.published_or_final_version
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Master
Master of Philosophy
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Leadbetter, Gregory Marcus. "Coleridge's transnatural poetics." Thesis, Oxford Brookes University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520917.
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Coleridge's Transnatural Poetics examines the simultaneous experience of exaltation and transgression as a formative principle in Coleridge's poetry and the fabric of his philosophy. Drawing upon a little-known but extremely rich notebook entry of 1812, the thesis constructs its critical vocabulary through the 'transnatural' and the 'daemonic', as Coleridge uses the terms to define each other and the peculiar qualities of his mind: an imagination fascinated by the transnatural, which in consequence, conceives of itself as daemonic. The thesis proceeds to demonstrate the significance of the principle this represents, as the basis for a new reading of his work. This study focuses primarily on the 1790s, as the period in which Coleridge's spiritual and poetic concerns took shape, but incorporates material from across his notebooks, letters and other prose, in order to demonstrate the continuity as well as the modulation of Coleridge's work. In critical method, the thesis seeks to integrate an informed awareness of social and historical contingencies with a sensitivity to the capacity of language itself to constitute experience. By showing how the 'transnatural' and the 'daemonic' combine to illustrate both the abiding tensions and restless productivity of Coleridge's writing, the thesis throws new light on his relationship with Christianity and Unitarianism; his mythological syncretism; the 'one life' and his organic metaphors of becoming; his psychology of the will and theories of the imagination; his ideas on the Fall and the Prometheus myth; his responses to Shakespeare, Milton and Locke; his crucial relations with Wordsworth, and the vexed concept of 'nature'; his ideas on the poetics of language; his relationship to the literature of the supernatural; and the creative principle of 'poetic faith'. Developing its theme through Coleridge's poetry, including lesser-known works such as 'Melancholy', 'Lewti' and 'The Wanderings of Cain', the exposition builds from 'The Eolian Harp' to 'The FosterMother's Tale', Osorio, 'Frost at Midnight', 'The Nightingale', and a new interpretation of the poems in which Coleridge produced his most compelling myths: 'The Rime of the Ancient Mariner', 'Kubla Khan' and 'Christabe1'.
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Davies, James. "stack : minimalist poetics." Thesis, University of Roehampton, 2018. https://pure.roehampton.ac.uk/portal/en/studentthesis/stack(aebfad17-9098-4c69-831d-3af98f9d48e4).html.
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stack: Minimalist Poetics consists of a portfolio of practice-led research — a volume-length minimalist poem entitled stack — and a critical essay. The poem applies and adapts several minimalist writing strategies, which are evaluated in the critical essay to create a text that is rich in imagery yet indeterminate in meaning. In addition, stack is innovative in its structural approach — through original use of enjambment, footnoting and repetition, lines may be treated as discrete entities and, also, as combinations. A key research question that the practice-led component and the critical essay interrogate is the applicability and development of the poetics of the “New Sentence”, and other formally innovative approaches in the field of minimalist writing. The first part of the critical essay contextualises the creative portfolio in relation to the field of minimalist poetics as a whole. It sets out how stack belongs to a strand of minimalist poetry that evolved out of imagism and objectivism, and whose key practitioners include Robert Grenier, Robert Lax and Aram Saroyan. Subsequently, the thesis outlines the methods that were used to generate the creative portfolio. Effectively these latter sections present a manual for making minimalist poetry. Aside from exploring the written elements of stack, the thesis also examines my practice of conducting what I refer to as ‘minimalist interventions’ (embodied, micro-actions). These interventions, which have taken place in a range of environments, generally function as stimuli for the written aspects of the poem.
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Manalo, Paolo Marko. "Part 1, The balance of where we are : a theory of poetic composition in relation to cognitive poetics ; Part 2, The secret uncles : poems." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2121.
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Part 1 of the thesis, ‘The Balance of Where We Are: A Theory of Composition in Relation to Cognitive Poetics’, considers a compositional theory of poetry, with particular attention to the creative process, the poetic line, and trope. Drawing on from the disciplines of creative writing and cognitive poetics, this thesis asserts basic and important considerations for writing poetry. Chapter One seeks a model for the creative process that will aid in sustaining poetic composition but without dictating a specific method of writing. In presenting several theories of creativity it discusses ways of understanding these mental processes in preparation for the actual poem. It suggests an approach to poetry that will keep the writer focussed and aware of his or her limitations. Chapter Two establishes what it means to be writing poetry in an ‘age of cognitive science’ where some literary scholars have made a ‘cognitive turn’, by explaining the field of cognitive poetics. It considers specifically the cognitive poetics of Reuven Tsur as an important theory to enhance poetic composition. It connects some of Tsur’s discussions on poetic elements to enhance the craft-oriented approach to poetry. Chapter Three examines the poetic line as the basic unit of a poem which any compositional theory must consider. It reiterates the neural theory of the line as a ‘carrier wave’ of conceptual information that is both pleasing to the ear and the mind. It then re- evaluates specific poetic experiments concerning the line, and suggests a method of scanning to help the contemporary reader’s awareness of poetic rhythms. Chapter Four examines trope, specifically poetic metaphor in relation to the assumption of conceptual metaphor theory that poetic metaphors are extensions of everyday metaphors. It welcomes an alternative cognitive-literary explanation by re-iterating metaphor theories from Reuven Tsur and Don Paterson. Finally, it argues that the practitioner is always writing the variation of the ‘one’ poem that he or she has discovered. Part 2 of the thesis, ‘The Secret Uncles: Poems’, consists of my own poems.
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Wijland, Roel, and n/a. "Poetic brandscapes." University of Otago. Department of Marketing, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080716.144516.
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�Every poet who takes language seriously is working against a culture of clear marketable meanings and commodified production� states New Zealand novelist, essayist and poet Gregory O�Brien. This statement is the motivation for research that is explored in a collaborative ethnographic study of brand culture perceptions in New Zealand. It takes its inspiration from The Poetics of Space (Bachelard, 1978) and provides intimate lyrical insights into the experience of brands and brandscapes.
Gregory O�Brien describes the artists that inspire him as: �Those who resolutely stand on their own creative terms, working towards their own objectives, as oblivious as they can be to any market forces.� O�Brien�s observations are relevant to the research project in two essential ways: first to cast light on a shared cultural commodity construct such as a brand from its proposed opposite cultural site of individual imagination and secondly, to accept the poetic in the form of the undiluted voice of vocational poets as valuable media in their own right to achieve insightful interpretations. Critical marketing projects have the duty to generate an alternative �marketing gaze� sufficient to the task of �revelation� (Brownile & Hewer, 2007). With regards to individual artists and poets specifically, critical marketing concepts implicitly pose the main research question as to the scenarios that are conceivably available to consumers: how does �working against marketable meanings� imaginatively work?
The project proposes the new construct of co-imagination as the co-active mental and spiritual engagement of consumers with the cultural artefacts of brandscapes that invite individual meaning making. It substantiates this individuality in a poetic evocation of brandscapes by thirteen artists. It analyses the holistic imaginative process on the basis of mental models, strategic scenarios and evocative aesthetics, in order to assess how talented consumers work against marketable meaning. It subsequently offers the relationship of co-imagination with existing co-optive concepts in marketing, literature and consumer behaviour, such as co-creation (Prahalad & Ramaswamy, 2004), co-performance (Deighton, 1992) and co-duction (Booth, 1988). It results in a collaborative artistic inquiry that assembles individual evocations of enchantment and disenchantment with the beauty and ugliness of brandscapes, through newly created poetry. The research introduces the new concepts of aesthetic scarcity and aesthetic community and in its collaborative method of inquiry offers an alternative to a poetic tradition in consumer behaviour of the poet / researcher conflation (Sherry & Schouten, 2002). As a result, the project complements the understanding of the individual meaning-making process in brand culture and is relevant to both practitioners and researchers in consumer behaviour and brand strategy.
The design of the project included a four month research journey that covered the North and the South Island of New Zealand with the objective of meeting a variety of poets in their local inspirational environments and brandscapes and catalyse an unusual creative cooperation of highly individual radical artists. In the thick description and analyses of the extensive field research, the project implicitly adds to existing work on brand culture (Schroeder, Salzer Morling, & Askegaard, 2006), brand aesthetics (Saizer-Mörling & Strannegård, 2004) and the relationship between artists and brands (Schroeder, 2005).
The research includes design elements based on romantic pragmatism (Rorty, 2007a) and cognitive aesthetics (R. H. Brown, 1977), both post-romantic concepts that explore aesthetic perception as perspectival knowledge and aesthetic distance as a means to transcend the dichotomy of objectivity and subjectivity.
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Servis, Alison. "Poetic Justice." Research Showcase @ CMU, 2013. http://repository.cmu.edu/theses/42.
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Abstract. Poetry – the word itself can incite frustration, joy, nostalgia, derision, and most often, shrugs. For something that can cause such varied and strong emotions, poetry gets little notice from a vast majority of people. A huge cause of low readership is the general lack of exposure to poetry had by all but the most heavily engaged readers and poets themselves. The amount and quality of exposure readers have to poetry greatly impacts the perception they have of it, as well as their willingness to further engage with it in the future, especially considering the abundance of other entertainment options readily available.
In order to combat these issues, I’ve honed in on several common attitudes towards poetry and examined how different vehicles and modes for poetry might positively confront preconceptions of what poetry is, as well as the ways in which readers are meant to interact with it. To create a sustainable level of engagement, I’ve designed a system that pairs the immediacy and interest of the physical environment with the convenience and power of the web to re-present poetry to potential young adult readers, while maintaining
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Brydewall, Sandquist Klara. "POETIC JUSTICE." Thesis, Konstfack, Ädellab, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7248.
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At best anger is problematic for most of us and especially an issue for women (and other discriminated groups). True a collaborative craft project focusing on silver objects, I investigate female anger and how it is perceived. Also, how the prevention of acting it out silences our need for change. I use the aesthetics of magic to reference the judging of women acting outside of set rules, and also as a tactic of female liberation.
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Thorstensson, Katarina. "Poetic Stairs." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23356.
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Lopes, André da Costa [UNESP]. "Da agudeza às metáforas: romances de Antônio da Fonseca Soares." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/94031.
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000685805.pdf: 570994 bytes, checksum: dce177483fa6ed4f578120ac3d18bd64 (MD5)Esta dissertação é fruto de uma pesquisa que tem como proposta principal o estudo da metáfora seiscentista em cento e quatro romances atribuídos ao poeta português Antônio da Fonseca Soares. Por se tratar de fonte manuscrita, em primeiro lugar fizemos um trabalho de Crítica Textual, por meio do qual efetuamos a transcrição e a atualização linguística dos poemas analisados de acordo com os critérios de uma edição modernizada. Em seguida, nosso foco centrou-se nos usos, escolhas e construção da metáfora seiscentista no gênero poemático em questão. Para tal, consideramos os manuais de retórica e poética da Antiguidade, especialmente os escritos de Aristóteles e Horácio; a preceptiva poética seiscentista debatida por Emanuele Tesauro e Baltazar Gracián, e os estudos contemporâneos no campo da historiografia literária que versam sobre retórica, as letras do século XVII, e assuntos a ela relacionados. Os resultados da pesquisa demonstram o papel expressivo da mais louvada figura dentre os usos da expressão arguta na retórica seiscentista, aplicada a uma das formas poemáticas mais cultuadas por poetas que praticavam a poesia vulgar desse período
This dissertation results from a master's degree research that has as the main proposal the study of the metaphor of seventeenth century in the one hundred and four romances attributed to the Portuguese poet Antônio da Fonseca Soares. To deal with a manuscript source, we started with a work of Textual Criticism, with which we made the transcription and the ortographic updating of the analyzed poems in agreement with a modernized edition. After that, the focus was centered in the uses, choices and construction of the metaphor of the 17th century in the poems. To analyze the romances, we considered the rhetoric manuals and poetics of Antiquity, especially Aristotle and Horace‟s writings; the poetic rules of seventeenth century debated by Emanuele Tesauro and Baltazar Gracián, and the contemporary studies in the field of the literary historiography about rhetoric, the seventeenth century literature and subjects related. The results of the research demonstrate the expressive function of the most praised rhetoric figure of the seventeenth century in one of the most important poematic form to the vulgar poetry of that period
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Cintra, Agnes Teresa Colturato [UNESP]. "Manual intermitente: notas sobre a poética ficcional de José Saramago." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/102396.
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Esta tese objetiva apresentar a “outra história” que aflora à obra ficcional de José Saramago e que expõe, de forma intermitente, as diretrizes do seu processo de criação. O texto é visto como construção progressiva de um universo fictício em processo de contínua auto-avaliação e em constante re-elaboração. Integrantes de um fio discursivo coerente, questões específicas sobre o gênero romance e a sua criação, dispersas no todo da obra romanesca do escritor, são reveladoras das linhas mestras que regem a sua poética ficcional. Numa sintaxe coerente que associa explícitos comentários aos contornos alegóricos conferidos às ações das personagens, os romances de Saramago expõem a própria construção, tanto do ponto de vista do seu projeto, como do ponto de vista da avaliação autocrítica do mesmo. A adoção do método comparativo de trabalho sustenta a análise descritiva e interpretativa de obras representativas de momentos decisivos do percurso ficcional do escritor que oferecem patamares eficazes de observação do “caminho já andado” e “do que falta a percorrer” (SARAMAGO, 1983, p. 256). A autoconsciência escritural instaurada no Manual de pintura e caligrafia, romance que re-introduz Saramago no gênero em 1977, se configura como um processo discursivo que marca singularmente a produção posterior, pela “carta de rumos” que lhe oferece, sistematizando-a e conferindo-lhe unidade. Observados em sua duração e constância, os caminhos apontados no manual estético de 1977 se fundem num conjunto que possibilita compreender o caráter singular do ficcionista. Emolduradas pelo questionamento fundamental da representação do real, que emerge do diálogo estabelecido entre caligrafia e pintura, questões sobre os procedimentos narrativos e discursivos adotados afloram em alguns romances que as polarizam: a interface entre Levantado do chão...
This thesis aims at presenting “the other story” that blooms from José Saramago’s fictional work and that exposes, intermittently, the directions to its creation process. The text is seen as a progressive construction of a fictional universe which is in a continuous self-evaluation process and is also in constant re-elaboration. Elements of a coherent discursive thread, specific issues on novel as a genre and its creation, dispersed throughout the author’s novels, are in charge of revealing the master plots that conduct his fictional poetic. In a coherent syntax that links explicit comments to allegoric outlines given to the characters’ actions, Saramago’s novels expose their own construction, from the point of view of his project as well as from the point of view of its self-critic evaluation. The adoption of the work comparative method supports the descriptive and interpretative analysis of representative works from decisive moments of the author’s fictional path, which offer efficient steps of observation on “the walked path” and on “the to-be-walked path” (“caminho já andado” and “do que falta a percorrer” – SARAMAGO, 1983, p. 256). The writing self-awareness first established on Manual of Painting and Calligraphy, novel that reintroduces Saramago in the genre in 1977, is configured as a discursive process that singly remarks its next production by the “letter of directions” that is offered, systematizing it and giving it unity. Observed as to what concerns their length and constancy, the paths pointed on the 1977 aesthetic manual are merged into a set of characteristics that allows one to understand the single character of the fictionist. Framed by the fundamental questioning of the representation of what is real, which emerges from the established dialog between calligraphy and painting, issues on the adopted narrative and discursive procedures... (Complete abstract click electronic access below)
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Poch, John. "Sorry Guard." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2455/.
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Sorry Guard is a collection of poems with a critical introduction on poetic form. Form in poetry can be revealed vocally (how the poem sounds), temporally (how the poem makes use of time), and spatially (how the poem is visualized, both physically on the page due to typography and imagistically due to the shape and movement of its subject matter). In this preface, I will address these three aspects of form in relation to three distinct twentieth century poets: Robert Hass, W.S. Merwin, and W.H. Auden. I am most interested in how particular formal decisions shape meaning and value in poetry. My aesthetic approach here primarily dwells on what Helen Vendler calls, "the music of what happens."
The urgency of Robert Hass's spoken word is important to me because I wish to make poems that should be spoken aloud and remembered. While W.S. Merwin's rejection of punctuation is not my own aesthetic outlook, I strive to achieve through close attention to temporal form the mythic voice of his poemsthe immediacy of his lines and images, especially in his second four books. And Auden's deft use of spatial form is only a small aspect of his remarkable verse. All three poets are concerned with the inadequacy and failure of language in its modern use, yet they write with a certain hopeas if potential power lies hidden in the words.
Most of the poems in the dissertation concern failure. Speakers in the poems fail to prevent death or pain, and they fail to achieve an equally requited love. They fail to protect and to achieve oneness with their loved ones, and often they are left only with the consolation of imagination.
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Delgado, Duatis Diego. "The Hellenic World of Henry Miller and Lawrence Durrell." Doctoral thesis, Universitat Rovira i Virgili, 2016. http://hdl.handle.net/10803/385980.
Full textAbstract:
Aquesta tesi doctoral estudia les produccions literàries de dos escriptors interconnectats, Henry Miller i Lawrence Durrell, tot posant especial atenció a les seves obres sobre el món grec, i la influència de la cultura hel•lènica sobre ambdós autors a través d’alguns escriptors grecs moderns. La meva tesi demostra que el contacte dels esmentats autors amb el món hel•lènic i amb determinats escriptors grecs de la primera meitat del segle vint va influenciar als primers considerablement, impregnant moltes de les seves obres. El terme “hel•lènic”, en la tesi, s’utilitza en el sentit que li dóna Kavafis, entenent la cultura grega com un continu. És a dir, l’herència cultural del poble grec com a grup que comparteix la llengua grega i un conjunt de valors.
Aquesta connexió es manifesta en tres àrees principals de confluència entre Durrell i Miller i els autors grecs que s’aborden: l’assimilació que els primers en fan de les produccions d’aquests autors grecs, les estretes afinitats intel•lectuals i estètiques entre tots ells, i la influència decisiva del país que els va aplegar.
Miller i Durrell van jugar un paper realment molt important en la difusió internacional d’alguns escriptors grecs moderns que encara no ha estat suficientment estudiat. Les seves relacions personals i literàries amb certs membres de la “Generació grega dels anys 30” marcaren una empremta en les seves obres i el seu discurs. Conseqüentment, aquesta tesi doctoral també explora l’àmplia correspondència entre Durrell i Miller i alhora, el seu intercanvi epistolar amb alguns d’aquests intel•lectuals grecs. Aquest darrer aspecte ha comportat realizar recerca en diversos arxius que compten amb col•leccions relacionades amb Durrell, Miller, Seferis i Sikelianos. Aquesta tasca ha permès l’estudi d’una extensa compilació de documents inèdits.Esta tesis analiza las producciones literarias de dos escritores interconectados, Henry Miller y Lawrence Durrell, poniendo una atención especial en sus obras sobre el mundo griego, y la influencia que la cultura helénica tuvo sobre ambos autores a través de algunos escritores griegos modernos. Mi tesis demuestra que el contacto de Miller y Durrell con el Mundo Helénico y con determinados escritores griegos de la primera mitad del siglo veinte les influyó considerablemente e impregnó muchas de sus obras. El término ‘Helénico’ se utiliza aquí en el sentido que le da Kavafis, entendiéndose la cultura griega como un continuo. Es decir, la herencia cultural del pueblo griego como grupo que comparte la lengua griega y un conjunto de valores. Esta conexión se manifiesta en tres áreas principales de confluencia entre Durrell y Miller y los autores griegos que se abordan: la asimilación que los primeros hacen de las producciones de estos últimos, las estrechas afinidades intelectuales y estéticas entre todos ellos, y la influencia decisiva del país que los reunió. Miller y Durrell jugaron un papel realmente muy importante en la difusión internacional de algunos escritores griegos modernos que todavía no ha sido suficientemente estudiado. Sus relaciones personales y literarias con ciertos miembros de la “Generación griega de los años 30” marcaron una huella en sus obras y en su discurso. Consecuentemente, esta tesis doctoral también explora la amplia correspondencia entre Durrell y Miller y al mismo tiempo, su intercambio epistolar con algunos de estos intelectuales griegos. Este último aspecto ha comportado realizar investigación en distintos archivos que cuentan con colecciones relacionadas con Durrell, Miller, Seferis y Sikelianos. Esta tarea ha permitido el estudio de una extensa compilación de documentos inéditos.
This dissertation analyzes the literary productions of two interconnected writers, Henry Miller and Lawrence Durrell, while paying special attention to their works on the Greek world, and the influence that the Hellenic culture had on both authors through some modern Greek writers. This thesis demonstrates that Miller’s and Durrell’s contact with the Hellenic World and with certain Greek writers of the first half of the twentieth century strongly influenced them and permeated many of their works. Here, the term ‘Hellenic’ is employed as used by Cavafy, meaning the Greek culture as a continuum. That is to say, the cultural heritage of the Greek people as a group sharing the Greek language and a common set of values. This connection is found in three main areas of confluence among Durrell and Miller and the Greek authors that are here studied: the formers’ assimilation of the latter’s productions, the close intellectual and aesthetic affinities among all of them, and the decisive influence of the country that brought them together. Miller and Durrell played indeed an important role in spreading the knowledge of some modern Greek writers at an international level which still had not been sufficiently studied. Their personal and literary relationships with some of the members of the Greek “Generation of the 30s” pervaded their productions and philosophical discourses. Consequently, this dissertation also examines Durrell’s and Miller’s long mutual correspondence and their exchange of letters with some of these Greek intellectuals. This last aspect has involved working in several archives with collections related to Durrell, Miller, Seferis, and Sikelianos, which has resulted in the study of an extensive compilation of unpublished documents.
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com, MirahB@aol, and Rolf Vaernes. "The Poetics of Being." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050617.103850.
Full textAbstract:
The aim of The Poetics of Being is to inquire into how the
apperception of the Being of beings is produced. We will
recognize this production not primarily in philosophy, but in a
medium accessible to us all, theatre. Although the Romantic
tradition of literary criticism from Herder to Bloom has noted
that Shakespeare produces an exceptional sense of what is
[true], so much so that he is said to create the impression of
nature or life, no one has so far attempted to show how
precisely Shakespeare affects this experience. Contrary to T.
S. Eliot, who is unable to discern any kind of poetics in
Shakespeares plays, we have discovered an insistent and
consistent pattern of inadequation, a kind of mismatch. The
thesis argues, that the predominant tropes of inadequation are
falsity, dissimilarity, nothing, indefinition, elision and
substitution. We shall show that these figures of inadequation
are the universal means by which Shakespeare, almost
imperceptibly, compels the spectator to infer the apperception
of what is [true].
On the basis of these tropes of inadequation the thesis makes
the fundamental philosophical claim that the cognition of Being
through non-Being is a negative form of what Heidegger calls
the ontological difference. We call this the negative ontological
difference. The thesis demonstrates that with the exception of
some Pre-Socratic thinkers, Plato in the Sophist, the work of
Pseudo-Dionysius, and the writings of Derrida, the bulk of the
tradition of Western philosophy has argued Being in terms of
positivities. While the thesis does not question the possibility
of realizing the ontological difference in a positive fashion, as
does Heideggers philosophy of unconcealment, the thesis
claims that the negative ontological difference, or ontological
contradiction, is the more forceful process by which we
become aware of what is [true].
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Vaernes, Rolf. "The poetics of being." Vaernes, Rolf (2004) The poetics of being. PhD thesis, Murdoch University, 2004. http://researchrepository.murdoch.edu.au/376/.
Full textAbstract:
The aim of The Poetics of Being is to inquire into how the apperception of the Being of beings is produced. We will recognize this production not primarily in philosophy, but in a medium accessible to us all, theatre. Although the Romantic tradition of literary criticism from Herder to Bloom has noted that Shakespeare produces an exceptional sense of what is [true], so much so that he is said to create the impression of nature or life, no one has so far attempted to show how precisely Shakespeare affects this experience. Contrary to T. S. Eliot, who is unable to discern any kind of poetics in Shakespeare's plays, we have discovered an insistent and consistent pattern of inadequation, a kind of mismatch. The thesis argues, that the predominant tropes of inadequation are falsity, dissimilarity, nothing, indefinition, elision and substitution. We shall show that these figures of inadequation are the universal means by which Shakespeare, almost imperceptibly, compels the spectator to infer the apperception of what is [true].
On the basis of these tropes of inadequation the thesis makes the fundamental philosophical claim that the cognition of Being through non-Being is a negative form of what Heidegger calls the ontological difference. We call this the negative ontological difference. The thesis demonstrates that with the exception of some Pre-Socratic thinkers, Plato in the Sophist, the work of Pseudo-Dionysius, and the writings of Derrida, the bulk of the tradition of Western philosophy has argued Being in terms of positivities. While the thesis does not question the possibility of realizing the ontological difference in a positive fashion, as does Heidegger's philosophy of unconcealment, the thesis claims that the negative ontological difference, or ontological contradiction, is the more forceful process by which we become aware of what is [true].