Dissertations / Theses on the topic 'Poetry, essays and songs'
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Atha, Tammy Jolene. "Songs of Amy & Other Poems." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1511979906462235.
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Ćurčin, Milan. "Srpska narodna pesma u nemačkoj književnosti." Beograd : Narodna biblioteka Srbije, 1987. http://catalog.hathitrust.org/api/volumes/oclc/18487273.html.
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Originally presented as the author's Thesis (doctoral --Universität Wien) under the title: Das serbische Volkslied in der deutschen Literatur.Includes bibliographical references (p. [169]-189) and index.
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Elder, Hilary Elizabeth. "The Song of Songs in late Elizabethan, Jacobean and Caroline poetry." Thesis, Durham University, 2009. http://etheses.dur.ac.uk/2165/.
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This thesis is about reading. Working on the understanding that all texts read other texts, it aims to uncover something of how English poets from 1590-1650 read the Song of Songs, by analyzing when and how they use it in their poetry. By looking at poetic readings, rather than theological ones, it also explores the connections and distinctions between reading literature and reading Scripture. As both Scripture and lyric love poetry, the Song of Songs has participated in theological and literary discourse over a long period. The Introduction gives background on both kinds of reading, and how they have been applied to the Song of Songs. It also sets out the structure of the thesis. Chapter 2 surveys theological writing about the Song of Songs produced during the period. The material includes sermons, commentaries, household advice books, hymns and translations, including poetic translations. There is a stable core of interpretation, which reads the Song as primarily about the relationship between Christ and the Church, or the individual soul, or both. Within this stable core, however, there is a wide variety of interpretations. Chapters 3-5 are themed, and look at how poets handle the three topics of the feminine voice, beauty and desire when they read the Song of Songs. The first poet considered in each chapter is Aemilia Lanyer, who provides a plumb-line for the exposition. As a poet seeking elite patronage, Lanyer is typical of her age in many important respects; but she also challenges expectations about poets of the period. The other poets considered are Shakespeare, Southwell, Mary Sidney, Countess of Pembroke, Spenser, Donne and Crashaw. The Conclusion considers what light these poetic readings shed on the relationship between Scripture and literature.
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Newman, Vivien B. E. "Women's poetry of the First World War : songs of wartime lives." Thesis, University of Essex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401045.
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Flanagan, Victoria C. "If Not the Body; Null Hypothesis: Essays." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5409.
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If Not the Body is a collection of poems centered around the physical, female body—the body in peril, the body as continuation, the body as revelation, the body as variable. Tracing both a literal and metaphorical lineage over five sections, these poems reckon with a personal, familial, and regional history in an attempt to answer the collections’ repeated questions: “What am I made of?” and “If illness uglies the world, / what redeems it?”
Drawing from personal experience, family history, and reckoning with mathematic, logical, and temporal limitations, Null Hypothesis: Essays focuses on what it means to embody, to experience. With particular attention to and emphasis on the self-consciousness of writing, these essays attempt to exemplify the inevitable frameshift afforded by illness, and how our bodies, our selves, our relationships, faith, and even our memories—as embodied things—manifest and matter in the corporeal world.
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Neff-Mayson, Heather. "Redemption songs : the voice of protest in the poetry of Afro-Americans /." Bern : Francke, 1989. http://catalogue.bnf.fr/ark:/12148/cb355192701.
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Holmquest, Heather. "Structure, Musical Forces, and Musica Ficta in Fourteenth-Century Monophonic Songs." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18703.
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This study provides insight into the compositional features of the monophonic ballata, a genre developed in the early to mid-fourteenth century in northern Italy. In analyzing the formal structure, melodic contour, application of musica ficta, and relationship between text and melody, I suggest ways in which performers of this repertoire can highlight the exceptional qualities of this music while remaining rooted in a historically-informed tradition of early music performance practice. Using principles of Schenkerian ideas of prolongation, Salzerian approaches to constructing voice-leading analyses of early music, and Steve Larson's theory of musical forces as criteria for well-formed melodies, I created a method that shows every note as structural or ornamental at every given level.
The use of these theoretical approaches serves to highlight what about this music is compelling and what can be brought out as 'familiar' in a piece, what repeats, and what connects sections and how. I conclude that counterpoint is behind the organization of these works at the structural level, even as monophonic songs. I acknowledge that there are features we could construe as "tonal," but that information is only useful to a performer familiar with tonal elements, and it is therefore only one of many layers of understanding that should be accessed by the modern performer.
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Beard, Ellen Leslie. "Rob Donn MacKay : finding the music in the songs." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/20991.
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This thesis explores the musical world and the song compositions of eighteenth-century Sutherland Gaelic bard Rob Donn MacKay (1714-1778). The principal focus is musical rather than literary, aimed at developing an analytical model to reconstruct how a non-literate Gaelic song-maker chose and composed the music for his songs. In that regard, the thesis breaks new ground in at least two ways: as the first full-length study of the musical work of Rob Donn, and as the first full-length musical study of any eighteenth-century Scottish Gaelic poet. Among other things, it demonstrates that a critical assessment of Rob Donn merely as a “poet” seriously underestimates his achievement in combining words and music to create a whole that is greater than the sum of its parts. The study also illustrates how widely melodic material circulated in eighteenth-century Scotland through aural transmission, easily crossing between languages and between instrumental and vocal music. The thesis includes a musical biography, a review of sources and commentary on Rob Donn, an introduction to relevant theoretical concepts in ethnomusicology and related fields, and a survey of eighteenth-century Scottish music, followed by several chapters analyzing the music of one hundred songs by topic (elegies; social and political commentary; love, courtship and weddings; satire and humor; and praise, nature and sea songs). The study shows that Rob Donn borrowed tunes for 67 of these songs from earlier sources (45% from Gaelic song, 25% from Scots song, 12% from English or Irish song, and 18% from instrumental tunes). It then provides evidence that he composed the melodies of 33 songs, examining in detail how he adapted earlier musical models and created musical settings to reinforce aspects of his poetic message. It also analyzes the musical features of all 100 songs, providing charts summarizing their vocal range, musical meter, scales and tonality. The thesis is accompanied by two appendices, one containing 121 musical settings of the 100 songs, and the other containing their complete texts with English translations (most translated here for the first time).
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Woodward, Mark E. McNeil Ryan Woodward Mark E. Aubuchon Rachel McKenney W. Thomas. "Three songs for unaccompanied choir." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6259.
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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 26, 2010 Thesis advisor: Dr. W. Thomas McKenney. Includes bibliographical references.
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Kim, Kil Won. "A detailed study of Reynaldo Hahn's settings of the poetry of Paul Verlaine /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1996.
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Wong, Gloria Ngar-Yan. "Conversations with a loved one : poetry, melody and social change in Hani dialogue songs." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/17413.
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The Hani reside in the Red River region located in China’s southwest province of Yunnan. This study centers on dialogue forms of their oldest extant song tradition—laba. These songs are orally transmitted and composed extemporaneously using melodic and textual formulae. The study begins with an introduction to existing scholarship on laba epics, which provides the basis for an overview of Hani history and religious beliefs. This is followed by a study of the interpretation and structuring of dialogue songs based on recordings made between 2002 and 2006.
There are two main types of male-female dialogues: those performed between lovers and those performed between siblings. The varied historical and contemporary social contexts in which these songs are performed give rise to multiple interpretations of song texts and to variations in the structuring of a song’s thematic content. Laba dialogues constitute both a type of verbal art and a form of conversation in which asymmetrical kinship relationships are maintained. The approach to analyzing laba texts as dialogical sites of cultural production is influenced by theories in ethnomusicology, anthropology, folklore and literary studies.
This study also examines the relationships between poetic and melodic structure. Since laba is sung in a speech-like manner, its melodic contours are closely tied to the phonological qualities of the text. This study examines how recurring formulae form the basis for variation in both poetry and melody. Parallelism forms the basis of poetic structure, while a recurring phrase contour is the basis of an indigenous concept of melody called teisa. The analysis of laba melody and discussions of an indigenous one-melody concept draws upon perspectives offered by Alan Thrasher and Antoinet Schimmelpenninck on similar regional musics. Finally, this study examines how new contexts of laba performance and reception represent a lens through which the social impact of urbanization and capitalism on Hani village communities can be understood.
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Blizzard, Amy. "The nightingale in poetry and music." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20031/blizzard%5Famy/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2003.Accompanied by 3 recitals, recorded Nov. 28, 1994, Mar. 5, 2001, and Feb. 17, 2003. Recording for June 10, 1996 missing. Includes bibliographical references (p. 71-74).
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FREITAS, DANIELA SILVA DE. "ESSAYS ON RAP AND SLAM POETRY IN CONTEMPORARY SÃO PAULO." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=34815@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
PROGRAMA DE DOUTORADO SANDUÍCHE NO EXTERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTITUIÇÕES COMUNITÁRIAS DE ENSINO PARTICULARES
Ensaios sobre o rap e o slam na São Paulo contemporânea analisa algumas das transformações ocorridas no período entre 1997 - ano de lançamento do álbum Sobrevivendo no Inferno, do Racionais MC s - e o momento atual, o ano de 2017, no que diz respeito à palavra cantada na cultura hip-hop em São Paulo. Como essa cena atualmente tem como característica central a sua multiplicidade, esta tese compõe-se por ensaios relativamente independentes sobre diferentes produções artísticas que têm em comum o apreço pelo chamado quinto elemento da cultura hip-hop: o conhecimento, e seus ideais de construção de comunidade e cidadania. Cada uma dessas produções lida com essas questões de forma distinta, às vezes dentro de um circuito independente, outras através da disputa pela ocupação de espaços dentro do circuito tradicional. Os textos estudados aqui - o trabalho do grupo Racionais MC s e dos rappers Criolo, Emicida, Karol Conka e Rico Dalasam, e o Slam Resistência - apontam para a forte interrelação entre poesia e técnica existente no movimento hip-hop paulista. Eles querem ser poiesis, no sentido em que querem produzir não só poesia, mas também vida. O argumento central desta tese é que este processo poético passa pela utilização de novas linguagens e pela criação de novas lógicas e percursos para os sistemas de produção, recepção, curadoria e promoção da arte hoje.
Essays on Rap and Slam Poetry in Contemporary São Paulo aims to analyze some of the transformations that have happened within the hip-hop movement in São Paulo in regards to the realm of the sung word or palavra cantada, namely rap and slam poetry, during the last twenty years - from the release of Racionais MC s Sobrevivendo no Inferno to the present moment. As the contemporary hip-hop scene in São Paulo is defined by its multiplicity, this dissertation is composed by separate essays that discuss and analyze different artistic productions. The respect for the fifth element of hip-hop culture - knowledge and its ideals of community-building, collectivity and citizenship - is what brings these productions together. Each of them deal with these matters differently, sometimes inside an independent circuit, other times fighting to occupy spaces within the mainstream. The works analyzed here, namely the work of rappers Racionais MC s, Criolo, Emicida, Karol Conka and Rico Dalasam as well as the poetry slam Slam Resistência, point to the strong interconnection between poetry and technique in São Paulo s hip-hop culture. These works want to be poiesis, in the sense that they want to produce not only poetry but also life. The thesis presented here is that such a poetic process entails the use of new languages and the creation of new logics and paths for the systems of production, reception, curatorship and promotion of art today.
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Rekleitis, Konstantinos. "Portfolio of compositions." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/8303.
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Klinck, Anne L. (Anne Lingard). "Women's songs and their cultic background in archaic Greece." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26286.
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This thesis applies to Archaic Greek literature the medievalist's concept of "women's songs," that is, love-poems given to a female persona and composed in a popular register. In the Greek context a distinct type can be recognised in poems of women's affections (not necessarily love-poems as such) composed in an ingenuous register and created for performance, choral or solo, within a women's thiasos. The poems studied are those of Sappho, along with the few surviving partheneia of Alcman and Pindar. The feminine is constructed, rather mechanically by Pindar, more subtly by the other two, from a combination of tender feeling, personal and natural beauty, and an artful artlessness.It is not possible to reconstruct a paradigmatic thiasos which lies behind the women's songs, but certain characteristic features merge, especially the pervasiveness of homoerotic attachments and the combination of a personal, affective, with a social, religious function. In general, women's groups in ancient Greece must have served as a counterbalance to the prevailing male order. However, while some of the women's thiasoi provide a vehicle for the release of female aggression, the function of the present group is essentially harmonious and integrative.
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Rådelius, Elias. "Songs of an epidemic : responding to HIV/AIDS through song, poetry and drama in Nakuru, Kenya." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-18248.
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This study examines the use of songs, poems and drama to raise awareness of, and respond to the HIV/AIDS epidemic in Nakuru, Kenya. The primary focus is that of youth-oriented interventions, but additional examples are also examined and analyzed. A qualitative approach is used and the study is based on semi-structured interviews with teachers, performers, students, NGO-representatives and former students conducted during four weeks in November and December 2012. Additionally, songs, poems and dramas have been collected and observed and finally analyzed using a theoretical framework that combines the Health Belief Model, the Social Cognitive Theory as well as principles of the research discipline of Medical Ethnomusicology. The study shows that songs, poems and drama are important methods to communicate messages and play an important role in shaping the local HIV/AIDS discourse. Due to its effectiveness, it is vital that the messages promoted are culturally appropriate as well as correct since the study shows that false information through these methods can hamper a desired behavior change.
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Seal, Jill. "Psalms, sonnets and spiritual songs : some traditions and innovations in English religious poetry, c. 1560-1611." Thesis, University of Nottingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363689.
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Woolner, Christina. "The labour of love songs : voicing intimacy in Somaliland." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/286359.
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This dissertation is about the work of love songs in Hargeysa, Somaliland. In a setting where music and expressions of love are conspicuously absent from public soundscapes, I explore the lives and labour of a genre as it moves and is moved across time and space, the singing and speaking voices that animate these songs, and the entanglement of love songs in the mediation of intimacy and the shaping of contested post-war soundscapes. What, I ask, is a love song? In a setting marked by war, where music-making and expressions of love are contested, what do love songs do? And how do they do what they do? In answering these questions, I take love songs in motion as my primary ethnographic object and investigate the "labour" of love songs in two senses: the intimate human labour by which love songs are made, circulated, heard, performed and put to assorted uses, and the social-aesthetic-affective labour that a genre itself performs. Based on eighteen months of field-research with poets, musicians, singers, music-lovers and love-suffering audiences in Hargeysa, I track love songs through various stages of their multi-faceted lives: as they first come into the world through the collaboration of a poet and his muse, a musician and a singer; as they circulate and are re-animated alongside stories of singers and stories of encounters; as they are re-figured by the ears and voices of attentive listeners; as their sounding is learned by musicians; and as their live performance is negotiated and received in contested urban terrain. I show the primary labour of love songs to be the distillation, performance and creation of intimate social relations: intimate relations predicated on "dareen-wadaag" ("feeling-sharing") that transcend everyday cleavages and prohibitions, and that have the power to shape both individuals' personal intimate lives and the socio-political worlds in which songs move and do their work. I argue that love songs' ability to distill and open space for intimacy rests on an ideology of voice that figures the voice as a deeply personal mode of self-expression and the simultaneously multi-vocal practices of voicing by which love songs are animated. In other words, the "voice" is made - and made intimate - by its multi-faceted multi-vocal sociality. In so doing, this dissertation contributes to understandings of the workings and power of popular culture in Africa and beyond, recent anthropological efforts to hold together the sonic and social dynamics of the "voice", and broader anthropological conversations about the mediated, multi-vocal making of persons and social worlds.
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Kuutma, K. "A Sámi ethnography and a Seto epic : two collaborative representations in their historical contexts /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/6583.
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Marts, Stephanie Leah. "John Duke's Assimilation of Poetry and Music: An Analysis of Two Art Songs with Text by E.E. Cummings." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/311794.
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Robertson, Patricia C. "Artsong : a brief survey of artsong literature, composers and musico-poetic structure accompanied by a performance-based interpretation workbook." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118240.
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This dissertation, which takes the form of a creative project as is sanctioned by the Doctor of Arts Curricular Program, is an investigation of artsong literature, composers and musico-poetic structure. The work is a textbook designed for an undergraduate course in song literature and is accompanied by a performance-based interpretation workbook. The author's approach to the artsong is a threefold one: the artsong is considered as a unique performance idiom and is examined for the characteristics common to all; distinctive features are examined which identify specific sub-genre classifications within the body of artsong; specific artsongs are investigated from a performance aspect in order to develop an appropriate methodology for the interpretation of an individual song. This work includes information about historical analysis, performance practice, translation, phonetic transcription and the characteristics of versification unique to each language covered.The unique contribution of this work, however, is the workbook of sixty-five artsongs.In the workbook, the student is guided through a systematic approach to the interpretive process. The student is asked to examine the poem for type, mode of address and imagery and is asked to consider elements of rhyme, meter and poetic structure. The student is guided through an investigation of the characters both present and implied in the poetry; the student is asked to consider the structural elements of the musical setting in order to better discern the composer's response to the poem. Additionally, the student is asked to place the speaker-the person whose voice he or she is bringing to life-in time and location as well as construct a profile of the speaker's character. At the beginning of the workbook the entire process is demonstrated for the student; as the student progresses through the workbook, he is expected to perform more and more of the tasks until he can independently create a performance-based interpretation.The work contains copious musical examples as well as a source guide to instructional materials (scores, translations, recordings) and a brief glossary.School of Music
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Kelly, Catriona. "Innokenty Fedorovich Annensky and the classical ideal : poetry, translations, drama and literary essays." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:402cf752-742c-4447-ae0c-ffeace85f95c.
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Innokenty Annensky (1855-1909) was better known to his contemporaries as a classics teacher and translator than as a poet; but, with the exception of two or three obituary articles, nothing has been written on his work as a classicist. His work has often been misconstrued and he has been described as an outstanding scholar. It has not been generally appreciated that his interest in the scholarly world was not really academic; he saw classical texts as models for his own literary works, and as inspiration for the 'Slavonic renaissance' he looked forward to with F.F. Zelinsky. This thesis covers Annensky's classical education, the essays he wrote on classical literature, and his translations of classical texts. Particular attention is given to the essays and translations which were intended to be published in Teatr Evripida, the first complete Russian version of Euripides. Annensky wrote no essay explicitly devoted to the subject of classicism. But from his essays on classical literature and the remarks on classical literature in his essays on modern literature it is possible to extrapolate his views on the nature of the classical tradition and on how he thought classical literature should be imitated. I show that Annensky's attitude to the classics was idiosyncratic and paradoxical. On the one hand, the classical world was viewed elegaically as an ideal of lost perfection; on the other, it was one of many cultural traditions on which he drew in his literary works and which was adapted in accordance with Modernist poetics. The discussion of Annensky's views on classicism is accompanied by information about the system of classical education in Russia 1870-1910, and about the history of classical scholarship and of literary classicism in Russia. Annensky's essays are compared with those of a representative scholar, Zelinsky, and a representative Symbolist, Vyacheslav Ivanov.
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Berg, Gabrielle Rachelle van den. "Minstrel poetry from the Pamir mountains : a study on the songs and poems of the Ismâí̂lîs of Tajik Badakhshan /." [S.l.] : [s.n.], 1997. http://catalogue.bnf.fr/ark:/12148/cb37091706f.
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Tezzon, Valeria. "The Sympotic Songs of Elephantine (P.Berol. 13270). New Edition, Translation, and Commentary." Doctoral thesis, Humboldt-Universität zu Berlin, 2019. http://dx.doi.org/10.18452/19772.
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Das Thema der vorliegenden Dissertation ist eine Studie des Papyrus der Berliner Papyrussammlung P.Berol. 13270 und der darin enthaltenen Verse. Die Arbeit gliedert sich in drei Teile. Der erste Teil, der die Beschreibung des Fundkontextes und des Papyrus, sowie die Kontextualisierung des Papyrus im Rahmen der Symposien im hellenistischen Ägypten enthält, zielt darauf ab, eine neue Gesamtinterpretation des Textes zu entwickeln. Durch eine Analyse der Sprache, des Stils und des Inhalts des Verses konnte ich zwei thematische und stilistische Einheiten identifiziert: ein erster Abschnitt (Zeile 1-8) besteht aus dem Anfang eines Chorliedes, der von Frauen gesungen wird, in dem eine lange sympotische Metapher verwendet wird. Der Stil wird durch ein sehr allusives und metaphorisches Lexikon aufgebaut. Stil und Dialekt, die in dem ersten Teil des Verses verwendet werden, sind kompatibel mit den Chorliedern des VI.-V. Jahrhundert B. C., da zahlreiche Parallelen und Assonanzen and die Lieder Pindars, Bacchylides’ und Ibycus’ nachgewiesen werden können. Der Text in Zeile 9 beginnt mit einer inhaltlichen und stilistischen Änderung. Die folgenden Zeilen enthalten einen zweiten Abschnitt von Versen: es handelt sich um das sehr oft in sympotischem Kontext verwendete Bild des Schiffes im Sturm. Darüberhinaus ist der zweite Abschnitt der Verse von einem weniger aufwändigen Stil geprägt. Die letzten zehn Zeilen, die unter der Paragraphos liegen, enthalten eine Elegie, die dem Rahmen der sympotischen normativen Elegien angehört und die für eine Definition des sympotisches ethos relevant ist. Im zweiten Teil habe ich eine neue diplomatische Transkription, eine kritische Edition und Übersetzung des Textes erstellt. Der dritte Teil besteht aus eines sprachlich-literarischen Kommentars, der Texterklärungen sowie eine gründliche Diskussion möglicher Parallelstellen.This work provides a comprehensive study of a papyrus of the Berlin Papyrus Collection (P.Berol. 13270) and of verses contained therein. The work is divided into three sections. Given a description of the context of found and of the papyrus itself, the first part aims to develop a new overall interpretation of the text and frames the manufact within the context of the symposium in Hellenistic Egypt. By analyzing language, style, and content of the verses, I identified two thematic and stylistic units: a first section (lines 1-8) consists of the beginning of a women's chorus song where an extensive symposial metaphor is employed. The style features a very allusive and metaphorical lexicon. Both style and dialect used in the first part of the verse are compatible with the choral songs of the VI.-V. Century B. C., as numerous parallels and assonances to the songs Pindars, Bacchylides 'and Ibycus' can be detected. Starting from line 9, the text drastically changes both in content and style. The following lines contain a second section of verses featuring the image of the ship in the storm. Moreover, the second unit is characterized by a less riddling diction. The last ten lines written below the paragraphos contain an elegy that can be ascribed to the category of sympotic normative elegies and that is relevant to a definition of the sympotic ethos. In the second part of my work, I have provided a new diplomatic transcription, a critical edition, and translation of the text. The third part consists of a linguistic-literary commentary, which provides explanations of the text as well as a thorough discussion of possible parallel passages.
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Jackson, Janet Ruth. "A coat of ashes: A collection of poems, incorporating a metafictional narrative - and - Poetry, Daoism, physics and systems theory: a poetics: A set of critical essays." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2125.
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This thesis comprises a book-length creative work accompanied by a set of essays. It explores how poetry might bring together spiritual and scientific discourses, focusing primarily on philosophical Daoism (Taoism) and contemporary physics. Systems theory (the science of complex and self-organising systems) is a secondary focus of the creative work and is used metaphorically in theorising the writing process.
The creative work, “A coat of ashes”, is chiefly concerned with the nature of being. It asks, “What is?”, “What am I?” and, most urgently, “What matters?”. To engage with these questions, it opens a space in which voices expressing scientific and spiritual worldviews may be heard on equal terms. “A coat of ashes” contributes a substantial number of poems to the small corpus of Daoist-influenced poetry in English and adds to the larger corpus of poetry engaging with the sciences. The poems are offset by a metafictional narrative, “The Dream”, which may be read as an allegory of the writing journey and the struggle to combine discourses.
The four essays articulate the poetics of “A coat of ashes” by addressing its context, themes, influences, methodology and compositional processes. They contribute to both literary criticism and writing theory. Like the creative work, they focus on dialogues between rationalist or scientific discourses and subjective or spiritual ones.
The first essay, “An introduction”, discusses the thesis itself: its rationale, background, components, limitations and implications. The second, “Singing the quantum”, reviews scholarship discussing the influence of physics on poetry, then examines figurative representations of physics concepts in selected poems by Rebecca Elson, Cilla McQueen and
Frederick Seidel. These poems illustrate how contemporary poetry can interpret scientific
concepts in terms of subjective human concerns.
The third essay, “Let the song be bare”, discusses existing Daoist poetry criticism before considering Daoist influences in the poetry of Ursula K. Le Guin, Randolph Stow and Judith Wright. These non-Indigenous poets with a strong awareness of the sciences have, by adopting Daoist-inflected senses of the sacred, been able to articulate the tension engendered by their problematic relationships with colonised landscapes. Moreover, the changing aesthetic of Wright’s later poetry reflects a struggle between Daoist quietism and European lyric commentary.
The final essay, “Animating the ash”, reflects on the process of writing poetry, using examples from “A coat of ashes” to construct a theoretical synthesis based on Daoism, systems theory and contemporary poetics. It proposes a novel way to characterise the nature and emergence of the hard-to-define quality that makes a poem a poem. This essay also discusses some of the Daoist and scientific motifs that occur in the creative work.
As a whole, this project highlights the potential of both the sciences and the more ancient ways of knowing — when seen in each other’s light — to help us apprehend the world’s material and metaphysical nature and live harmoniously within it.
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Kimbell, Sara E. "The Romantic Pilgrim: Narrative Structure in Samuel Barber's Hermit Songs." Youngstown State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1274965990.
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Bassett, Dennis M. "The Five Song Collections of John David Earnest Set to the Poetry of Robert Bode: A Performer's Perspective." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243567209.
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Morales, Lara Jose J. "Cyclical thought in the Nahuatl (Aztec) world." Diss., Online access via UMI:, 2007.
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Goussias, Giannoula. "Heroes and heroic life in the Iliad and Akritic folk-song /." Title page, table of contents and abstract only, 1992. http://web4.library.adelaide.edu.au/theses/09ARM/09armg717.pdf.
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Karlsson, Fredrik. "The Meeting of Childhood and Colonialism in William Blake’s Songs of Innocence and of Experience." Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-66163.
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In Songs of Innocence and of Experience William Blake contrasts childhood and adulthood. This essay relates this to another prominent social issue in the collection, colonialism. This essay aims at answering the question of what happens when the child is black rather than white. By providing an analysis of how children in general are portrayed, followed up with a brief discussion of how Blake deals with colonial issues this essay sets the stage for a final concluding discussion about what happens when the two themes of childhood and colonialism meet. The discussion reveals that Blake is using irony to ridicule the contemporary polarized meanings of the words “black” and “white”. By doing this Blake makes the little black boy in “The Little Black Boy” the perfect symbol for criticising the contemporary issues of child abuse and colonialism in one single piece of poetry.I Songs of Innocence and of Experience visar William Blake på motsättningarna mellan barndom och de vuxnas värld. Denna uppsats kopplar detta tema till kolonialism, en annan framstående social fråga som behandlas i diktsamlingen. Syftet med denna uppsats är att besvara frågan om vad skillnaden blir när det är ett svart barn istället för ett vitt som framställs i dikterna. Genom att först analysera hur barn i allmänhet framställs, följt av en kort diskussion om hur Blake hanterar problemet med kolonialismen leder denna uppsats fram till en avslutande diskussion kring vad som händer när två stora teman som barndom och kolonialism möts. Den avslutande diskussionen framhäver att genom Blakes användande av ironi så gör han den samtida polariseringen av orden ”svart” och ”vit” till åtlöje. Den svarta pojken i ”The Little Black Boy” blir Blakes perfekta symbol för att kritisera de samtida frågorna kring barns utsatthet och kolonialism i en och samma dikt.
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Etherton, Caitlin. "On Earth | Onionlight." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5820.
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On Earth is a collection of poems celebrating, investigating, and documenting human relationships, spiritual devotion, and both natural and cultivated environments. The focus of all five sections is largely agricultural and botanical, reflecting often on the writer’s experience of farming in Maryland and South Carolina.
Onionlight is a long-form segmented essay that leaps between diverse topics including gastronomy, the agricultural and ethnobotanical history of onions, the history and culture of Bermuda, scallop shell fossils found in present-day Virginia, bulb flowers in the Amaryllidaceae family, intimate relationships, personal history, love, marriage, the specific history of the Vidalia onion, and farm experiences in the South. Short “onion epigraphs” from writers like C.D. Wright, Mary Oliver, Lucille Clifton, and Carol Ann Duffy link the individual segments.
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Lehóczky, Ágnes. "Poetry, the geometry of the living substance : four essays on Ágnes Nemes Nagy (Part one) ; Rememberer (Part two)." Thesis, University of East Anglia, 2011. https://ueaeprints.uea.ac.uk/32640/.
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Schwartz, Alexandra T. "Warming Up in Waves." Cleveland State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=csu1556914327871456.
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Galdino, Roberto Carlos. "A porta da saida : a poetica das canções de Torquato Neto." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270028.
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Orientadores: Luiz Carlos da Silva Dantas, Alexandre Soares CarneiroDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Nosso estudo debruça-se por sobre as canções de Torquato Neto, anteriores a sua participação no Tropicalismo, que tem um perfil semelhante à canção engajada, de protesto, de meados da década de 1960, e durante seu envolvimento com o movimento, tomando-as como uma entrada para o questionamento dos discursos críticos estabelecidos sobre a sua poética. Procuramos estabelecer um diálogo entre a nossa escuta das canções e as leituras críticas que as tomam isoladamente, como texto poético apenas. De modo a questionar os dois pólos extremos em que é confinada sua poética: Ou o poeta é visto enquanto um artista de vanguarda continuador de uma certa tradição do novo, de inventividade e rigor construtivo; ou como romântico libertário radical, que por coerência com seu projeto poético-existencial, renuncia a vida
Abstract: Our study bends over Torquato Neto¿s songs, prior to his participation at the Tropicalism, which has a similar profile of the activist song, of protest, in the middle of the 1960s, and during his involvement with the movement, turning them into a beginning of questioning the established critical discourses about his poetry. We try to establish a dialogue between our listening to the songs and the critical readings which consider them separately, as a poetic text only. So that we can question the two opposite extremes in which his poetry is confined to: either the poet is seen as an avant-garde artist who continues a certain tradition again, of ingenuity and constructive rigidity, or as a romantic radical libertarian who, in accordance with his political-existential project, abandons his life
Mestrado
Literatura Brasileira
Mestre em Teoria e História Literária
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Haak, Sarah. "Great Wounds: A Collection of Essays and Prose." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1554996583436946.
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Dickon, Bryon J. "Speak it into Existence: Essays on the Body and Gender in the Contemporary Works of Trans and Gender Non-Conforming Poets." University of Akron / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=akron1573232403906373.
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Injejikian, Hasmig. "Sayat Nova and Armenian ashoogh musical tradition." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59269.
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The main objective of this thesis is to show that the thirty melodies ascribed to the ashoogh Sayat Nova are melodically and rhythmically homogeneous, and that they bear similarity to both Armenian folk and sacred melodies. Since very little has been written on this topic in Occidental languages, it has been necessary to provide (1) a descriptive account of the ancient Armenian music; namely, vibassan, koosan, folk and sacred traditions; (2) a presentation of ashoogh poetic forms, rhyming schemes, and accentuation patterns, which are summarized for the first time in a chart with corresponding sources; (3) a chapter on Armenian tzayns as a background to the melodic analysis and codifications of Sayat Nova's melodies, which is contrary to the accepted practice of codifying these melodies with Greek modal names.Professor Nigoghos Tahmizian's analysis of Sayat Nova melodies was used as a starting point. Furthermore, through analysis based primarily on available secondary sources, certain conclusions have been obtained: such as, the unity of rhythm/meter with language conventions, presence of specific melodic patterns, cadential endings, intervallic patterns and ranges in Sayat Nova melodies, as characterised by individual tzayn codifications. Further research is suggested to clarify codification of poetic forms, tzayn designations, and specifically, to solidify accentuation conventions of the Armenian language and of its dialects.
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Pauley, Cassandra C. "Alexander Pope's Opus Magnum as Palladian Monument." [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000082.
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Silva, Susana Aparecida da. "Ct 5,9-16: a mais bela entre as mulheres descreve o seu amado." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/18373.
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This research aims to exegetical analysis on Ct 5,9-16. This section contains a description of the female beloved by the male beloved. To the question of Jerusalem's daughters about the male beloved superiority (v. 9), the female beloved responds with a song, a wasf in which exalts your loved above all men (v. 10). For this, she describes some physical traits (vv. 10-15), starting from the head (v. 11), holding up in the face of some details (vv. 12-13), passes through the hands, trunk and legs (vv. 14-15) and concludes with an exclamation affection and admiration (v. 16). As a canon and considered inspired book, the words written in language and poetic style seems to contain not only a description of the erotic male figure, but also contains images with a theological symbolism referring to the God of the Old Israel. It is therefore specific purpose of this study to understand and interpret Ct 5.9 to 16, in order to understand how the Israel of God is revealed through the loving description of the beloved, not only exalts the figure of the male human body, but also refers the poetic symbols of the divine character
A presente pesquisa tem como finalidade a análise exegética de Ct 5,9-16. Este trecho contém uma descrição do amado por parte da amada. À questão das filhas de Jerusalém a respeito da superioridade do amado (v. 9), a amada responde com um cântico, um wasf, no qual exalta o seu amado acima de todos os homens (v. 10). Para isto, ela descreve alguns traços corporais (vv. 10-15), partindo da cabeça (v. 11), detendo-se em alguns detalhes da face (vv. 12-13), passa pelas mãos, o tronco e as pernas (vv. 14-15) e conclui com uma exclamação de afeto e admiração (v. 16). Como um livro canônico e considerado inspirado, o trecho escrito em linguagem e estilo poético parece conter não somente uma descrição erótica da figura masculina, mas também contém imagens com um simbolismo teológico referente ao Deus do Antigo Israel. Portanto, é objetivo específico do presente estudo compreender e interpretar Ct 5,9-16, no sentido de entender como o Deus de Israel se revela através da descrição amorosa da amada, que não somente exalta a figura do corpo humano masculino, mas também remete aos símbolos poéticos dos caracteres divinos
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Navàs, Farré Marina. "Ramon de Cornet: l'autor, l'obra i la circulació manuscrita." Doctoral thesis, Universitat de Girona, 2019. http://hdl.handle.net/10803/668661.
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This study intends to offer a comprehensive analysis of Ramon de Cornet’s poetic and historical profile, his works and his manuscript tradition. He is the most important 14th-century Occitan poet, the author of a vast extant corpus with a larger manuscript tradition than his contemporaries: all of this shows him to be a key figure for the definition and reassessment of the poetics of this period, half way between troubadour lyrics and pre-Marchian poetry, often silenced or branded as decadent. This thesis is divided into four parts. The first aims at distinguishing the author from his literary character in order to reconstruct the historical evidence about him and review some readings of his works in excessively biographic terms. The second outlines the network that supports the circulation of his works, revealing a map of Occitan courts and other centres that have been traditionally forgotten. The dedicatees of his poems attest to the reception of a poetry well-rooted in the troubadour tradition beyond the Toulouse Consistory. The third section offers an overall analysis of his works, which are defined by their variety and eclecticism an represent the best example of late troubadour lyrics and its subsequent evolution. The aspects discussed are illustrated by excerpts from Cornet’s work, taken from my on-going edition, which I partially included in my École national des chartes dissertation. The fourth part presents the recensio and description of all extant manuscript witnesses, which had a considerable circulation in Catalonia, and analyses the whole of the tradition beyond Cornet’s transmission. Finally a musical appendix is included in a CD, containing 5 of Cornet’s poems arranged and sung from the basis of the melodies of his metrical and musical models.Aquest estudi té l’objectiu d’oferir una anàlisi de conjunt de la figura de Ramon de Cornet, de la seva obra i de la seva tradició manuscrita. Ramon de Cornet és el poeta occità més important del segle XIV, amb un vast corpus conservat i una tradició manuscrita molt superior a la dels seus contemporanis. Tot pegat el configura com un personatge clau a l’hora de definir i revaloritzar la poètica de l’època, a cavall entre la lírica trobadoresca i la lírica premarquiana, sovint silenciada o titllada de decadent. Aquest treball es divideix en quatre parts: a la primera es distingeix entre l’autor i el personatge literari. A la segona part es presenta la xarxa de circulació de la seva obra. Els destinataris dels seus poemes testimonien una recepció de la cultura de tall trobadoresc que s’estén més enllà del Consistori de Tolosa i que permet dibuixar un mapa de corts occitanes i altres focus de difusió que han estat tradicionalment oblidats. La tercera part és una anàlisi de conjunta de la seva obra. Aquesta, caracteritzada per la varietat i l’eclecticisme, és el millor exemple per il·lustrar la lírica tardotrobadoresca i l’evolució que va experimentar. La quarta part presenta la recensió i descripció dels testimonis manuscrits, que tingueren una circulació notable a Catalunya, i una anàlisi del conjunt de la tradició que va més enllà del propi Cornet. Finalment, un apèndix musical en CD reprodueix cinc peces de Cornet musicades per a l’ocasió a partir de la melodia conservada dels seus models i musicals.
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Ivana, Knežević. "Хришћанско и паганско у делу Растка Петровића." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2016. http://www.cris.uns.ac.rs/record.jsf?recordId=101028&source=NDLTD&language=en.
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Predmet istraživanja u ovom radu jeste identifikacija i osvetljavanje dominantnih obrazaca avangardnog i hrišćanskog identiteta u delu Rastka Petrovića. Rastko uvek nastupa sa pozicije nekog ko je blisko upoznat sa umetnošću, istorijom i njenim nepredvidivim i nepravednim političkim projektima. Pokušavajući da rastumači njihove uzroke i posledice, stalno ističe potrebu za integralnim čovekom, kulturom i društvom uopšte, kako po pripadnike sopstvenog naroda, tako i na regionalnom i globalnom nivou. Rastkovo opredeljenje da je svet u nastajanju povezan s ideologijom dečaštva (mladića), znači da je čovek po njemu u događaju Bogomladenca doživeo vrhunac, tj. u potpunosti ispunio cilj ka kome oduvek teži. Suštinsko, a ne tek sporedno, akcidentalno određenje čoveka jeste da nadiđe sebe i stremi ka Bogu. Centralnu ulogu u okviru ove transcedencije trebalo bi da ima analiza apriorne strukture čovekovog bića i u njima prepozna otvorenost i sposobnost da se avangardna/hrišćanska poruka čuje i adekvatno razume. Rastko u tradiciji vidi istinsko uporište transcendencije i afirmacije verodostojnog bića i odgovarajuće slobode gde apsolutna sloboda i apsolutni autoritet nisu suprotstavljena svojstva, već izraz istog bića. Rastkove ideološke evropske pretenzije mogu se okvalifikovati kao veliki intelektualni napor i pregnuće da se stvori, usvoji i inkorporira jedan novi (obnovljeni) kulturni i religiozni mit koji se kao takav projektuje u praistoriju, a potom samoreguliše mnoge savremene fenomene.The main subject of this PhD thesis was to identify and shed the light on the dominant form of avant-garde and the Christian identity in the work of Rastko Petrovic. Rastko always acted from the perspective of someone who was closely familiar with the art, with history and its unpredictable and unjust political projects. Trying to understand its causes and consequences, Rastko Petrovic has repeatedly stressed the need for the integral and comprehensive man, culture and society in general, both in terms of his own people, and at the regional and global levels. Rastko’s commitment to the idea that the emerging World is connected with the ideology of boyhood, means that the man as an individual has culminated in Divine Child event, and only through that event has fully met the purpose towards which it has always aspired. The essential and not only secondary and accidental determination of man is to transcend himself and strive towards God. An a priori analysis should have the central role within this transcendence of the structure of human beings with its ability to recognize in them the openness and the ability to properly hear and understand the avant-garde / Christian message. Tradition is in the eyes of Rastko Petrovic the only true stronghold of such transcendence and affirmation of one true and credible human being and adequate freedom where absolute freedom and absolute authority are not contradictory properties, but an expression of the one same being. Rastko’s ideological European claims may be characterized as a great intellectual effort and endeavor to create, adopt and incorporate a new (renewed) cultural and religious myth which, as such, projects in prehistory, and then self-regulates many contemporary phenomena.
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Schindler, Karl W. (Karl Wayne). "The War Poems: An Intermedia Composition for Chamber Orchestra and Chorus." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278847/.
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Expanding on the concept of Richard Wagner's Gesamptkunstwerk, The War Poems was written to combine various elements for an intermedia composition, including music, five slide projectors, lighting, and costume. Text used in the piece was taken from the writings of the English World War I poet Siegfried Sassoon.
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Pollack, Alexander Gregory. "Half-virgin." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5010.
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Half-Virgin is a cross-genre collection of essays, short stories, and poems about the humor, pain, and occasional glory of journeying into adulthood but not quite getting there. The works in this collection seek to create a definition of a term, "half-virgin," that I coined in the process of writing this thesis. Among the possibilities explored are: an individual who embarks upon sexual activity for the first time and does not achieve orgasm; an individual who has reached orgasm through consensual sexual activity, but has remained uncertain about what he or she is doing; and the curious sensation of being half-child, half-adult. Ultimately, I believe, a "half-virgin" possesses all of these traits. One of the goals of the collection is to scramble the prototypical coming-of-age story into bits and parts and halves. Among the approaches included are earnest memoir (the real and metaphorical costumes a young couple wears on Halloween), character-driven fiction (the life story of Marlow, a college track star who ends up the unwitting inspiration for Super Mario Brothers), and narrative experiments (a tongue-in-cheek creative writing syllabus and a bullet pointed resume of sexual conquests). By exploring the untidy fragments in love, lust, and human connection in these works, Half-Virgin aspires to find wholeness through the jagged adventures of growing up.ID: 029809539; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes reading list (p. 156-159).; Thesis (M.F.A.)--University of Central Florida, 2011.
M.F.A.
Masters
English
Arts and Humanities
Creative Writing
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Reeder, Connie. "Jack is Dead." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/669.
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Mariño, León Sebastián. "Juan Arañés. Poesía y música "alla spagnola" en Roma. Estudio y edición crítica." Doctoral thesis, Universitat de Barcelona, 2022. http://hdl.handle.net/10803/673669.
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En los albores del siglo XVII, la concepción del Romancero lírico se vio determinantemente influida por la música, no solamente en aras de la difusión de sus poemas, sino en la modificación y devenir de sus formas. Estos textos poéticos que se difundían en manuscritos o llegaban hasta la imprenta, eran la síntesis, o la excepción, entre aquellos que se transmitían oralmente y, sobre todo, cantados. De la naturaleza espontánea de estas prácticas efímeras y habituales—en las cuales no era necesario anotar ni los textos, ni la música, pues se conocían de sobra—, se inspiraban los poetas y músicos de oficio, así como aquellos activos en la corte, para su creación artística.
Gracias a la sencilla técnica con la que se tañía y a su asequibilidad, la guitarra era el instrumento ideal para acompañar las tonadas y bailes cantados que se nutrían de los textos poéticos y músicas que constituían el acervo y ambiente sonoro de la época. Debido a su implicación con el estilo que difundía, este instrumento llegó a ser el paradigma de la música española de aquel entonces. Es así como en Italia—y también en Francia—, a raíz de la influyente presencia de españoles, mayormente en las cortes, se aumentó con cierta celeridad la afición por la música “alla spagnola”. Estas piezas que aunaban el sencillo acompañamiento rasgueado de la guitarra, los textos poéticos de corte tradicional y los sones que se tañían sobre ella, llegaron a ser difundidas a través de numerosos manuscritos y exitosos impresos.
En el marco de estas circunstancias, destaca un curioso libro estampado en la imprenta de Robletti en Roma, se trata del Libro segundo de tonos y villancicos de Juan Arañés, el cual es dedicado al III duque de Pastrana, Ruy Gómez de Silva y Mendoza, quien en 1623 fue nombrado embajador de Felipe IV en la Ciudad Eterna. Las piezas de dicho libro, junto con otras composiciones manuscritas de Arañés conservadas en Roma, resumen la variada paleta de inspiración, difusión y desarrollo de la poesía cantada de la época y son el reflejo del contexto poético-musical familiar para el duque.
Se ofrece aquí un estudio junto a la edición crítica, debidamente analizada, de la poesía y la música de todas las piezas seculares en lengua castellana compuestas por Juan Arañés. La presente investigación, de carácter interdisciplinar, tiene como objetivo permitir la comprensión del entorno literario, musical e histórico en el que fueron escritos y compuestos estos poemas conservados en música, los cuales forman parte del patrimonio literario, lírico y artístico peninsular del Siglo de Oro.During the early years of the 17th century, music in particular influenced the conception of the Romancero lírico (Lyric Ballad) collection, both with regard to the proliferation of its poems, and to the modification and future transformation of its form. Because of the simple technique with which it was played, and of its easy accessibility, the guitar became the ideal instrument to accompany the sung tunes and dances that fed on the poetic and musical texts constituting the period’s heritage and sonorous environment. The close relationship between the guitar and the style that it helped to propagate, allowed this instrument to become paradigmatic of the era’s Spanish music. In Italy as well as in France, given the influential presence of Spaniards primarily at the respective Courts, the fondness for music alla spagnola (in the Spanish style) grew rapidly. These pieces that brought together the simple strumming of the guitar, traditional poetic texts, and the sound particular to the guitar, became widely known through numerous manuscripts and successful printings. One interesting book printed by Robletti in Roman stands out in these circumstances: Libro segundo de tonos y villancicos (Second Book of Sung Ballads and Strophic Songs), by Juan Arañés. The volume is dedicated to the 3rd Duke of Pastrana, Ruy Gómez de Silva y Mendoza, named in 1623 King Philip IV’s ambassador to the Eternal City. The compositions within this book, together with other Arañés manuscript compositions conserved in Rome, synthesize the varied palette of inspiration, dissemination, and development of the period’s sung poetry, and are the reflection of the poetic-musical context well known to the Duke. This dissertation provides a study together with a carefully detailed critical edition of the poetry and music of all of Juan Arañés’ secular pieces in Spanish. The present interdisciplinary research has as its objective to foster an understanding of the literary, musical, and historical ambience when these poems, conserved in musical form, were written and composed. These, in turn, form part of the Peninsula’s literary, lyrical and artistic patrimony during the Golden Age.
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Fliege, Daniel. "L'évangélisme poétique. La codification de la poésie spirituelle de Marguerite de Navarre et de Vittoria Colonna." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL050.
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La thèse porte sur la poésie de Marguerite de Navarre et Vittoria Colonna. Elle se concentre sur la codification de leurs poésies spirituelles et examine comment des formes littéraires traditionnelles sont combinées avec des idées religieuses nouvelles et transformées. Pour ce faire, la partie théorique de cette thèse développe une conception du code qui est ensuite appliquée aux poèmes des deux poètes. Dans une partie historique, la thèse explore l’évangélisme en Italie. Elle examine s’il existe en Italie un code évangélique comparable au code évangélique français. La thèse examine ensuite les sonnets spirituels de Vittoria Colonna. Ces poèmes sont édités et traduits en annexe. L’étude analyse également le poème "Le Balladin" de Clément Marot. Le corpus des textes analysés de Marguerite de Navarre comprend les rondeaux, les dizains ainsi que les chansons spirituelles. La thèse se focalise sur l’analyse de la codification et de l’interdépendance de la forme littéraire et de la pensée religieuseThe thesis deals with the poetry of Marguerite of Navarre and Vittoria Colonna. It focuses on the codification of their spiritual poetry and examines how traditional literary forms are combined with new religious ideas and how they are transformed. To do this, the theoretical part of this thesis develops a conception of code that is then applied to the poems of the two poets. In a historical part, the thesis explores evangelism in Italy. It examines whether there is an evangelical code in Italy comparable to the French evangelical code. The thesis then examines the spiritual sonnets of Vittoria Colonna. These poems are edited and translated in an appendix. The study also analyses Clément Marot's poem "Le Balladin". The corpus of texts by Marguerite of Navarre includes the rondeaux, the dizains and the chansons spirituelles. The thesis focuses on the analysis of the codification and of the interdependence of literary form and religious thought
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Panzeca, Andrea. "You Don't Have to Be Good." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1979.
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You Don't Have to be Good, is a nonfiction collection of prose, poetry and graphic memoir set in New Orleans, central Florida, and points in between. In this coming-of-age memoir, I recall the abrupt end of my dad's life, the 24 years of my life in which he was alive, and the years after his death—remembering him while living without him in his hometown of New Orleans. Along the way there are meditations on language, race, gender, dreams, addiction, and ecology. My family and I encounter Hurricane Katrina and Mardi Gras, and at least one shuttle launch. These are the stories I find myself telling at parties, and also those I've never voiced until now.
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Genshaft, Carole Miller. "Symphonic poem a case study in museum education /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196175987.
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Rodrigues, Telmo. "For a lark : the poetry of songs." Doctoral thesis, 2014. http://hdl.handle.net/10451/19949.
Full textAbstract:
Tese de doutoramento, Estudos de Literatura e de Cultura (Teoria da Literatura), Universidade de Lisboa, Faculdade de Letras, 2015It is commonly accepted that art is humanity’s highest achievement and a definite proof of distinction between humans and other animals. In that sense, the higher the artistic accomplishment, the more sublime the human. The premise for my thesis is that a distinction between high and low art is useless, and, as such, other distinctions must be put in place in order to qualify human beings and the environments they inhabit. My overall argument is that it is not the extraordinary but the ordinary that distinguishes human beings not only from other animals but also among themselves. Ordinariness is the central aspect of our lives and a decisive part of who we are. Many different aspects out of our control condition choices we make, and we are usually led to believe that those aspects are what is relevant for assessing our lives; nevertheless, it is what we choose that is decisive. Taking pop music as an instance of low art, how and why we relate to some things and not others will be discussed; by approximating pop music to the practices of poetry, an instance of high art, it will be shown that most intellectual thought put in the creation of one type of art is present in the other: allegiance to one or the other is a matter of personal choice, not of constituency.
É comum aceitar a ideia de que a arte é aquilo que a humanidade tem de mais nobre e a demonstração absoluta de que os humanos são diferentes de outros animais. Desse ponto de vista, quanto mais nobre a arte mais sublime o ser humano. A premissa da minha tese é a de que a distinção entre arte erudita e arte popular é inútil e, assim sendo, devem ser consideradas outras distinções para qualificar seres humanos e os vários espaços que habitam. O meu argumento geral pressupõe que não é o extraordinário mas antes o comum que nos distingue não só de outros animais mas também de outros especímenes humanos. Aquilo que é central nas nossas vidas, e um aspecto crucial para sermos quem somos, é aquilo que fazemos normalmente. Sendo que as nossas escolhas podem ser condicionadas por muitas variáveis, temos por hábito pensar que o que é importante para compreendermos a nossa vida são essas variáveis; no entanto, são as nossas escolhas que importam. Tomando a música pop como um exemplo de arte popular, serão discutidas as formas e razões que nos levam a apreciar algumas coisas em detrimento de outras; ao aproximar a música pop das práticas da poesia (uma arte erudita), pretende-se mostrar que a maior parte das considerações que dão origem a uma são idênticas às que originam a outra: a inclinação para uma ou para a outra depende da escolha pessoal, não de predisposição biológica.
Fundação para a Ciência e a Tecnologia (FCT)
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Hart, Carolyn. "Form and poetry in selected songs of Barbara Pentland." Thesis, 1994. http://hdl.handle.net/2429/7227.
Full textAbstract:
Barbara Pentland, one of Canada's foremost composers, is best known for
her piano and chamber works. However, she composed for the voice throughout
her career. The evolution of her compositional techniques is evident in her vocal
works, which show post-romantic chromaticism, neo-classicism, serial techniques,
aleatoric techniques and new explorations in sound. A study of Pentland's choice
of poetry, and of the manner in which she sets the text, adds further insight into
her compositional craft. This document analyzes the following songs: The
Cottager To Her Infant (1929); Ruins (1932); Song Cycle 1. Wheat (1943)
5. Cities (1945); Three Sung Songs 2. Life 3. Let the Harp Speak (1964); Ballad
for Soprano and Violin (1979); Ice Age (1986). They were chosen because they
represent important stylistic periods, and demonstrate various influences on her
writing.