Tesis sobre el tema "Humanistic poetry"

Jorge de Sena figura como personalidade poética de difícil enquadramento nas searas de produção poética da década de 40 a 60 em Portugal. Não tendo sido um poeta presencista ou neorrealista, nem surrealista ou sequer aderindo fielmente ao fingimento poético de Fernando Pessoa, o poeta português forja uma poética própria a partir da ideia de testemunho e de metamorfose esta avultando como resultado poético do ato ético-estético da poesia, através da simbiose entre sujeito empírico e sujeito poético. Esta dissertação tem por objetivo investigar a (não) figuração de paisagens poéticas relacionadas aos seus destinos de exílio: Portugal, Brasil, e Estados Unidos da América. Ou seja, o que pode ser visto ou aquilo que é escondido destas e nestas paragens de sua peregrinação infecta, encontrada em sua Peregrinatio ad Loca Infecta (1969), diário tornado objeto estético na configuração ética de seu testemunho circunstancial. Para tanto, a investigação apoia-se nos estudos geográficos de orientação humanista-cultural, bem como nos estudos em torno da relação entre escrita poética e paisagem, desenvolvidos pelo crítico francês Michel Collot.
Jorge de Sena figures as a poetic personality of difficult framing in the poetic scene production from the 40\'s to 60\'s in Portugal. He was not a presentialist or neorealist poet, nor surrealist or even adhering faithfully to Fernando Pessoas own poetics. This Portuguese poet forges a poetics of his own from the idea of testimony and metamorphosis which stands as the poetical result of the aesthetic and ethical act of his poetry, that occurring through a symbiosis between the empirical subject and the poetic subject. This thesis investigates the figurations or not of poetic landscapes related to his destinations of exile: Portugal, Brazil, and United States of America. Therefore, what can be seen or what is hidden from these places and in these spaces of his infected pilgrimage, in his Peregrinatio ad Loca Infecta (1969), an infectious diary turned into an aesthetic object in the ethical configuration of his circumstantial testimony. To do that so, this investigation is supported on geographic studies from a humanistic and cultural orientation, and also upon the studies concerning to the relation between poetry and landscape promoted by the French schollar Michel Collot.

Esta tese trata da obra poética neolatina publicada em Lyon, França, nos anos de 1539 e 1540, pelo humanista português Antônio de Gouveia, consistindo em duas centenas de epigramas e mais quatro cartas de amor em versos. Foram feitos o estabelecimento do texto latino, com o cotejo de diferentes edições, e a tradução para o português, acrescida de notas e comentários. Foram feitas diversas análises, de cunho poético, para examinar os procedimentos estilísticos de composição da obra e para verificar a presença da literatura clássica no texto renascentista. A existência de duas diferentes edições da poesia epigramática propiciou o exame e a interpretação de algumas das alterações introduzidas pelo poeta lusitano. Inclui-se, ainda, um capítulo sobre a vida de Antônio de Gouveia, enfocando, principalmente, sua formação humanística e sua circulação nos meios artísticos e acadêmicos da Renascença européia.
This thesis deals with the Neo-Latin poetic work published by Antônio de Gouveia, Portuguese humanist, in Lyon, France, in the years 1539 and 1540, consisting of two hundred epigrams and four love letters in verse. The thesis includes the comparative edition of the Latin text, with critical apparatus, and the translation of it into Portuguese, with notes and comments. It also includes a poetic analysis, in order to examine the stylistic procedures of the composition of the work, and to verify the influence of classical literature on this Renaissance text. The existence of two different editions of the epigrammatic poetry permitted the examination and interpretation of some changes made by the Portuguese poet. The thesis also has a chapter about the life of Antônio de Gouveia, focusing his humanistic education and his movement in the artistic and academic circles of European Renaissance.

Cette étude consiste à mettre en lumière la double dimension du temps chez François Cheng. Partant du principe qu’il est un homme de dialogue, on ne peut que remarquer sa situation particulière dans son époque. En effet, il est à la fois contemporain des grandes remises en cause révolutionnaires de l’humanisme littéraire et des voix comme celles d’Yves Bonnefoy ou de Philippe Jaccottet C’est ainsi que nous nous proposons, dans notre première partie, de mettre en parallèle l’œuvre poétique de François Cheng avec les diverses voix de la poésie française de la deuxième moitié du XXe siècle. Pour mieux cerner la place qu’il occupe dans cette époque et montrer le rapprochement avec ses contemporains, nous tâchons de retracer les mutations principales en ce qui concerne la méfiance envers les images, une redéfinition du sujet et un renouveau de la notion d’humanisme. La deuxième partie est centrée sur des analyses détaillées de l’écriture poétique chengienne dont le but est de mieux comprendre une poésie de l’élémentaire qui a souci de renouer le lien avec l’univers vivant. La troisième partie tâche d’éclairer le temps lui-même, qui est fondé sur le Vide et le Change. Habité par cette conviction, le poète conçoit sa création comme une Œuvre inachevable. A travers les analyses des thèmes traditionnels de la poésie occidentale comme la nuit ou l’amour, et de certains de ses usages (celui la sonorité et du rythme notamment), notre étude se propose d’interpréter la vitalité d’une démarche d’écriture qui rompt avec les conventions et ouvre la parole à un dynamisme certain
This study consists in showing François Cheng’s double dimension of time. Assuming that he is a man of dialogue, we can only remark his particular situation in his time. Indeed, he is a both contemporary of the revolutionary cause of humanism and the literary and of voices like Yves Bonnefoy or Philippe Jaccottet. Thus we propose in the first part a parallel study between the poetic work of François Cheng and the diverse voices of the French poetry of the second half of twentieth century. To better understand Cheng’s place in that time and show the comparison with his contemporaries, we try to trace the major changes regarding distrust of images, a redefinition of the subject and a revival of the concept of humanism. The second part focuses on the detailed analysis in Cheng’s poetry work to better understand a poetry of elemental who desire to renew the relationship with the world. The third part of our research seek to clarify his own time based on the Empty and the Change. With this conviction, the poet sees his creation as an unachievable Work. Through the analysis of traditional themes in Western poetry such as night, love, the sound and rhythm, our study is to interpret the vitality of a writing process who breaks with conventional and opens the speech to the dynamism

Erasmus’s Renaissance humanist grammatical hermeneutics changed the way theology was conceived and practiced. The literary critical resources Erasmus brought to theology from the study of the classical poets, however, were not only powerful agents of change within Reformation theology. They were also retrieved for poetry by early modern authors. Key Erasmian concepts and perspectives relating to both bonae litterae and sacrae litterae as well as to secular pedagogy and rhetorical theology were assimilated by English culture and provided important foundational elements within the early modern prophetic poetics of Edmund Spenser and John Milton. Careful consideration of the manner in which these Erasmian concepts and perspectives were integrated into Spenser and Milton’s understandings of both poetry and the poetic vocation provides important insight into the complex theological dimensions of these poets’ work—particularly into the workings and significance of a number of Spenser and Milton’s most challenging religious figures and into the prophetic claims related to their mimetic production.
Arts, Faculty of
English, Department of
Graduate

O debate humanista das práticas artísticas no Renascimento italiano fomentou especialmente no século XVI uma das mais complexas e profícuas elaborações textuais da produção tratadística da música. A contextualização teórica daquela prática musical bem como a investigação do papel dos seus artífices profissionais e diletantes, objetivos dessa pesquisa, pretende situar analiticamente a partir das publicações quinhentistas impressas em língua italiana e latina o exercício e a formação epistêmica do antigo músico. Fundamental ferramenta para a compreensão dos tratados tanto escritos por músicos profissionais quanto por diletantes cortesãos, a Retórica é chave de leitura do \"texto além do texto\" e conhecimento também comum àqueles autores que, apresentavam em suas publicações, além do domínio técnico esperado, extenso aparelho humanista. Ao confrontar as disciplinas e habilidades fomentadas pelo estudo da musica prattica italiana com a studia humanitatis comum a cortesãos e músicos durante o Renascimento, pretendemos demonstrar bibliograficamente o alto grau de importância dos conhecimentos extrínsecos à pura ação do instrumentista ou cantor, explicitando os elementos retóricos, poéticos e científicos contidos naquelas edições musicais italianas. Uma vez que o próprio entendimento de música e músico é complexamente diverso e amplo naquele contexto, é coerente recuperar tal horizonte de sentido - conceitos e ideias - através dos documentos musicais artísticos e inartísticos que expõem, além das sede argumentorum filosóficas, as emendas e os tópicos visitados e empreendidos na redação dos tratados. Literariamente, o tratadista humanista, também referido à época como perfetto musico, age como um gentil-homem que transita discursivamente entre os nobres cortesãos de seu tempo, elaborando e amplificando o discurso técnico com vistas ao decoro de seus leitores e ao fim do seu ofício. Por essa razão, é oportuno considerar as disciplinas práticas do exercício do músico no Renascimento como parte de uma complexa rede de conhecimentos, na qual é proeminente o discurso e suas poéticas, empreendendo a recuperação das preceptivas e do arrazoado quinhentista daquele exercício artístico.
The humanistic debate of artistic practices in the Italian Renaissance, especially in the sixteenth century, fostered one of the most complex and fruitful textual elaborations of music treatises. The theoretical contextualization of that musical practice, as well as an investigation on the role of their professional and dilettante musicians, which are the goals of this research, aim at analytically contextualizing the epistemic formation of Renaissance musicians based on 16th century publications printed in Italian and Latin. An essential tool for understanding the treatises in question, Rhetoric is the appropriate tool for reading the \"text beyond the text,\" in addition to being common knowledge to those authors who showed a broad humanistic baggage in their publications, as well the expected technical mastering. By paragoning disciplines and skills fostered by the study of Italian musica prattica and the studia humanitatis among courtiers and musicians in Renaissance, we intend to bibliographically point out the high degree of importance of extrinsic knowledge to the pure action of players or singers, explaining the rhetorical, poetic, and scientific elements contained in those Italian musical editions. Since the very understanding of music and musicians is intricately diverse and broad in that context, it is fair to recover that horizon of meaning--concepts and ideas--through artistic and non-artistic musical documents that outline, beyond the philosophical sedes argumentorum, amendments and topics dealt with in those treatises. Literarily speaking, the humanistic musician, also referred to, at the time, as a perfetto musico, acts as a gentilhuomo who moves, discursively speaking, amongst the nobles and courtiers of his time, developing and broadening technical discourse in view of the decorum of his readers and for the sake of his craft. Therefore, it is appropriate to consider the practical disciplines of Renaissance musicians\' exercise as part of a complex network of knowledge that highlights the poetic speech, recovering preceptives and 16th-century reasoning behind that artistic exercise.

Francis Ponge a entrepris un dialogue avec la peinture en vue d’interroger les fondements d’une telle interférence telle qu’elle se manifeste dans le cadre parisien du 20ème siècle. Ce rapport conçu par le poète comme une alliance participe de l’instauration d’une philosophie humaniste qui clame son attachement au réel comme principe majeur de la création artistique et poétique. L'unité thématique et technique qui régit les textes repose sur des rapprochements systématiques qui concernent plusieurs aspects : parallélisme des pratiques, convergence des visions de l'art, unicité de la définition d'artiste... Ponge prépare le terrain à un nouveau tournant dans son œuvre qui est le dialogue entre l’écriture et la peinture, une pensée qui s'est installée définitivement dans les pages de L'Atelier bien qu'elle se déploie tout au long de ses textes et notamment les premiers. D'une réflexion qui se profile en filigrane sous la forme d'une métaphore filée, la pensée sur l'art revêt un statut majeur dans la poétique de Ponge
Francis Ponge undertook a dialogue with the painting to question the foundations of such interference such as it shows itself in the Parisian frame of the 20th century. This relationship conceived by the poet as an alliance participates of the institution of a humanist philosophy which cries out its attachment in the reality as the major principle of the artistic and poetic creation. The thematic and technical unity which governs texts relaying on systematic links which concern several aspects: parallelism of the practices, the convergence of the visions of the art, the uniqueness of the definition of artist... Ponge prepares the ground for a new turning point in its work which is the dialogue between the writing and the paint a thought which settled down definitively in the pages of The Workshop although it displayed throughout its texts in particular the first ones. Of a reflection which is outlined between the lines under the shape of a spun metaphor, the thought on the art dresses a major status in the poetics of Ponge

L'expression poétique semble inhérente au théâtre classique. Pourtant, les pièces de la seconde moitié du XVIIe siècle, en particulier les tragédies, sont le fruit de principes « réguliers » qui ont cherché à dépoétiser le théâtre et ont largement réussi dans cette entreprise. Pour rendre compte de ce processus, il est nécessaire de retracer l'histoire de la poésie au théâtre depuis la naissance de la tragédie humaniste, au milieu du XVIe siècle, jusqu'à l'instauration de ce que la postérité appellera le classicisme. Il apparaît ainsi que l'élocution lyrique s'est progressivement déplacée au fil du temps du genre tragique vers le genre comique en suivant l'évolution de la poésie lyrique depuis le style sublime de la Pléiade jusqu'à l'expression burlesque de Scarron en passant par la simplicité malherbienne, l'ingéniosité mariniste ou l'enjouement galant. L'expression lyrique glisse ainsi progressivement des chœurs et des discours pathétiques de la tragédie humaniste vers les soupirs, les chansons et les pointes des amants de la tragi-comédie et de la pastorale avant d'être parodiée dans la parlure ridicule des personnages de la comédie burlesque. Parallèlement à ce mouvement, les penseurs réguliers théorisent l'opposition fondamentale du langage poétique et du langage dramatique, rendant ainsi presque impossible le développement d'une tragédie régulière poétique
Poetical expression seems to be an inherent aspect of classical theatre. However, plays written in the second half of the seventeenth century, particularly the tragedies, were conceived to adhere to regular standards of form which tended towards the removal of poetic expression from theatre and which largely succeeded in doing so. To summarise this process, it is necessary to recount the history of poetic expression in plays from the advent of humanist tragedy in the mid-sixteenth century to the establishment of what would be later called « classicism ». It can then be demonstrated that lyrical elocution shifted over time from tragedy to comedy, following the same evolution as lyrical poetry which evolved from the noble style of the Pleiade all the way to Scarron’s burlesque expression, through the simplicity of Malherbe’s expression, the ingenuity of marinism, or the preciosity of the gallant style. Poetical expression thus progressively shifted from the choirs and pathetic discourses of the humanist tragedy, towards the sighs, songs, and conceits of the lovers of tragi-comedy and pastorales, before being parodied in the ridiculous manner of speech of the characters in burlesque comedy. Simultaneously, theorists of regularity theorised the fundamental opposition between poetic and dramatic language, thus making the development of a regular poetical tragedy nearly impossible

Le poète européen Guillermo Carnero, dit ‘novísimo’, publie ses premiers poèmes dans l’Espagne du franquisme tardif des années 70 du siècle dernier et se fait alors connaître du grand public par son oeuvre phare Dibujo de la muerte. Auteur de onze livres, il poursuit l’élaboration de son oeuvres piralaire jusqu’au dernier recueil en date, Carta florentina, publié en 2018, tout en conduisant une carrière universitaire en tant que professeur de littérature à l’université d’Alicante. Souffrant d’une réception souvent figée par les figures de réception imposées de l’historiographie littéraire, la signifiance de cette oeuvre, réputée difficile, ne fut que trop rarement mise en évidence malgré la parution d’essais européens. Or, le poète, lecteur et érudit cosmopolite amoureux des arts et des cultures exprime dans sa poésie une intime relation au monde grâce à une relation dialogique avec le référent culturel, qui y occupe une place centrale en tant qu’axe fondateur autour duquel s’articulent l’expression de l’émotion poétique et la réflexion sur la création. L’hybridité constitutive du tissage de l’insaisissable ordonné de cette oeuvre poétique induit chez le lecteur une réception engagée et une itinérance au sein des univers culturels propres à l’auteur. Ainsi se met en oeuvre la médiation humaniste entre le poète et son lecteur grâce à la prégnance du référent culturel mobilisé pour dire l’intime d’un douloureux rapport au monde. Cette médiation humaniste facteur de connaissance de soiest ici conduite hors de toute recherche d’intertextualité mais laisse place à l’écriture de l’émotion à l’oeuvre, saisie dans l’instantanéité des ambivalences d’une insaisissable voix poématique
The European poet Guillermo Carnero, known as 'novísimo', published his first poems in late Franco's Spain in the 1970s and became known to the general public with his flagship work Dibujode la muerte. Author of eleven books, he continues the development of his spiral work until the latest collection, Carta florentina, published in 2018, while conducting an academic career as a professor of literature at the University of Alicante. Suffering from a reception often frozen by the imposed reception figures of literary historiography, the significance of this work, reputed difficult, was only too rarely highlighted despite the publication of European essays. The poet, reader and cosmopolitan scholar inlove with the arts and cultures, expresses in his poetry an intimate relationship with the world through a dialogical relationship with the cultural referent, which occupies a central place there as a founding axis around which are articulated the expression of poetic emotion and reflection on creation. The hybridity that constitutes the weaving of the elusive order of this poetic work induces in the reader a committed reception and a roaming within the author's own cultural universes. Thus the humanist mediation between the poet and his reader is implemented thanks to the influence of the cultural referentmobilized to express the intimacy of a painful relationship with the world. This humanistic mediation, a factor of self-knowledge, is conducted here without any search for intertextuality but leaves room for the writing of emotion at work, captured in the instantaneity of the ambivalences of an elusive poematic voice

La production culturelle de l’entre-deux-guerres se distingue par un intérêt renouvelé pour la représentation des enjeux sociaux qui troublent la vie quotidienne de la population française : le travail et la misère dans un espace de plus en plus urbanisé deviennent les sujets primordiaux dans la littérature, la photographie et le cinéma, notamment pendant la période entre 1928 et 1939. Face à la crise financière, les grèves ouvrières et l’essor du Front populaire, le champ artistique réagit avec un renouveau des formes de représentation réaliste qui doit aboutir à l’interrogation de la nature du ‘peuple’, des liens sociaux qui le déterminent et de la survie des traditions populaires pendant la modernisation des pratiques quotidiennes. En littérature, un courant éphémère du roman domine les débats à partir de 1929 : le roman populiste, courant fondé dans un manifeste de Léon Lemonnier. Il devient rapidement la toile de fond d’une discussion sur le besoin de renouveler le roman réaliste et naturaliste. Simultanément, le groupe de la littérature prolétarienne autour d’Henry Poulaille se réclame de la même volonté en donnant la voix aux ouvriers. Les deux groupes, ainsi que beaucoup d’autres auteurs qui se rapprochent du populisme littéraire, réclament un renouveau du roman par le biais de la description du ‘peuple’ et de ses conditions de vie. La notion de ‘peuple’ s’oppose, dans ce contexte, à la bourgeoisie et ses écritures ‘psychologique’ et ‘snobiste’. Recourir au ‘peuple’ signifie donc avant tout une certaine esthétique anti-bourgeoise, mais – contrairement aux avant-gardes – également antimoderne, créant l’imaginaire d’une normalité marqué par la pauvreté qui devrait correspondre à l’expérience de la majorité de la population française.La thèse présente cherche à dégager d’abord les éléments d’un tel imaginaire du ‘peuple’ en s’appuyant sur la critique artistique ainsi que sur l’analyse de plusieurs romans de la nébuleuse du roman populiste : Pierre Mac Orlan, Eugène Dabit, André Thérive, Marcel Aymé et Henry Poulaille. Elle montre ensuite la survie des éléments esthétiques du populisme dans le film du réalisme poétique et dans la photographie documentaire qui donne naissance à la photographie humaniste. Ce faisant, ce travail représente une contribution sociocritique à l’histoire des idées de l’entre-deux-guerres français et signale les pièges idéologiques d’une esthétisation de termes comme ‘petites gens’ et du ‘peuple’
The cultural production of the interwar period in France is noted for its renewed interest in the representation of social issues which shake the everyday life of the French population : work and urban misery become the main subjects in literature, photography and cinema, especially in the period between 1928 and 1939. In view of the financial crisis, labour strikes and the rise of the Front Populaire, the artistic field reacts with a renovation of realist representation styles, which should lead to a questioning of the nature of ‘people’, of the underlying social connections in the masses and of the place of popular traditions in a modernized way of life. In the ambit of literature, a short-lived movement of novel writers dominates the discussions from 1929 onwards: the populist novel, a movement founded in a manifesto written by Léon Lemonnier. This movement becomes quickly the backround for a further discussion about the needs for a renewed literary realism or naturalism. Simultaneously, the group for proletarian literature, founded by Henry Poulaille, follows the same aesthetics and claims to be the real representants of the working people by giving workers the occasion to publish. Both groups, as well as many other authors close to the literary populism, try to renew the novel by describing the ‘people’ and their living conditions. In this context, the notion ‘people’ is opposed to the bourgeoisie and its ‘psychologic’ or ‘snobby’ writing style. Thus, resorting to the term ‘people’ means first and foremost that the creator subscribes to an anti-bourgeois aesthetics, but also to an anti-modernist mindset – which distinguishes populism from the French avantgardes. It means furthermore that the creator strengthens a conception of everyday life marked by poverty which should correspond to the experiences of a majority of the French population. This thesis tries to bring out the elements of such an imagination of the ‘people’ on the basis of the artistic criticism and of the analysis of several novels written by authors who are more or less associated to the populist novel movement: Pierre Mac Orlan, Eugène Dabit, André Thérive, Marcel Aymé and Henry Poulaille. The thesis goes then on to highlight the survival of aesthetic elements of populism in the cinema of poetic realism and in French documentary photography which marks the beginning of humanist photography. By doing so, the thesis represents a sociocritical contribution to the history of ideas of the French interwar period and indicates the ideological traps of aesteticization of terms like ‘little people’ or ‘people’ in general

Oggetto di studio è la ricezione di Tibullo in età umanistica. La Parte prima affronta la delicata questione della trasmissione del Corpus Tibullianum, diretta ed indiretta, includendo una disamina del più antico codice integro superstite (il ms. Milano, Biblioteca Ambrosiana, R 26 sup.) ed un focus sulla circolazione a stampa dell’opera nel XV sec. Nella Parte seconda, dopo una ridefinizione delle peculiarità della poesia di Tibullo e dei tratti che accomunano la lettura umanistica dei classici, si prendono in esame varie tipologie di commento alla silloge, considerando un’applicazione esegetica quasi del tutto inedita. Questi gli studi esaminati: le postille di Antonio Panormita al ms. Vat. Lat. 3270; le annotazioni al ms. Riccardiano 606, autografo di Cristoforo Landino; i segni di lettura di Tito Strozzi sul ms. Firenze, Biblioteca Nazionale Centrale, Magl. VII 1053; il commento di Giovanni Pontano, trasmesso dal ms. Wolfenbüttel, Herzog-August Bibliothek, Aug. Fol. 82.6, interamente autografo dell’umanista; le postille del Poliziano annotate sui margini di una copia dell’editio princeps della raccolta (oggi l’incunabolo corsiniano 50.F.37). Infine, si prende in considerazione il commentario di Bernardino Cillenio, accluso nell’edizione tibulliana del 1475 (Roma, G. Lauer). La Parte terza è incentrata sulla rilettura in chiave tibulliana della maggiore produzione poetica quattrocentesca in lingua latina, prediligendo la poesia di quegli umanisti dei quali è stata esaminata l’applicazione allo studio di Tibullo. L’attenzione verte sui seguenti autori: Antonio Panormita; Enea Silvio Piccolomini; Giovanni Marrasio; Cristoforo Landino; Angelo Poliziano; Tito Strozzi; Giovanni Pontano. Nella Parte quarta si offre un bilancio conclusivo della ricerca e si indicano le possibili prospettive future di questa indagine. The aim of this work is to investigate the reception of Tibullus during the Italian Quattrocento. The first part treats the transmission of the Corpus Tibullianum, including an analysis of the ms. Milan, Biblioteca Ambrosiana, R 26 sup., which is the most ancient manuscript of the collection. The second part, after a redefinition of Tibullus’ style, looks at the humanist studies of the Corpus, a material for the most part still unpublished: the annotations of Antonio Panormita, Cristoforo Landino, Tito Strozzi, Giovanni Pontano and Angelo Poliziano have been taken into consideration. Then we examined Bernardino Cillenio’s commentary, published in Rome in 1475 by G. Lauer. The third part considers the poetic reception of the Corpus, preferring those authors that have also annotated Tibullus’ poems: Antonio Panormita, Enea Silvio Piccolomini, Giovanni Marrasio, Landino, Poliziano, Tito Strozzi and Pontano. The last part includes also some considerations about future perspectives of our research.

The steady increase of technology has become particularly ubiquitous in environments of heart surgery. Patients in these environments come into close contact with technology in its many guises. Often, practitioners may be deterred from engaging with patients because technology and the associated routines of care become the focus. As a result, it is important to understand how patients make sense of the technological situations encountered during treatment and recovery with attention to the constitution of identity and emerging moral issues. A narrative methodology was employed to examine patients’ experiential accounts of the technological in open-heart surgery and recovery. Sixteen patients were interviewed 3-4 days after surgery and 4-6 weeks after discharge, in addition participant journals were employed. Study results pointed to the technological as the dominant discourse in heart surgery and recovery, strongly organizing health care practices and patients’ recovery. These discursive influences shaped participants’ stories resulting in two temporal shifts of authorial voice. Authorial voice reflects the dominant discourse and structured how stories unfolded. The first temporal shift exhibited how technology acted as the authorial voice, structuring stories of the preoperative and early postoperative period. Although participants were the narrators of their own stories, they were strongly influenced by the dominant discourse of the technological and its associated dimensions of care. Participants’ stories revealed how patients were at the centre of activity, but passive, universal and undifferentiated. Although technology continued to influence stories of the later postoperative period and recovery at home, there was a shift of authorial voice to participants. Narratives reflected how the technological was incorporated into participants’ daily lives, but their stories included more personal elements rooted in their own particularities. Study implications involve a critical uptake of technology that emphasizes the balance between technologically- and humanistically-focused practices in heart surgery and recovery. A key implication is the critical need to encompass affective and social dimensions of patients within the technologically-driven practices of heart surgery. Of great significance is how practitioners, particularly nurses, can act as supporting characters in helping with transitions of authorial voice from the technological back to the participant.

Метою даної випускної кваліфікаційної роботи є аналіз творів В. Висоцького задля виявлення чинників, які обумовлюють поетичний феномен «Володимир Висоцький» як синтетичне утворення, що забезпечує оригінальність, своєрідність і неповторність лірики поета та сприйняття його творчості як поетичного відкриття сучасності. Поезія Висоцького різноманітна, в ній представлені численні моделі суспільного життя, різні образи героїв. Вона є відображенням менталітету людини другої половини ХХ ст. У першому розділі розкривається особистість Володимира Висоцького в контексті розвитку авторської пісні в літературному процесі другої половини ХХ століття, аналізуються гуманістичні ідеали військової та громадянської лірики поета. У другому розділі висвітлюється сутність проблеми свободи в суспільстві в 1950-1970 рр., конфліктність як принцип творчості Володимира Висоцького, мотив несвободи і тотальної незгоди із світом. Третій розділ обґрунтовує сутність поетичного феномена «Володимир Висоцький»: синтетичність його дарування, культурно-аксиологічний аспект творчості та своєрідність колористики поезії. За результатами роботи зроблено висновки щодо неоціненності внеску В. Висоцького у літературознавство в частині скорочення дистанції між автором і читачем, розширення можливостей слова: підкреслення його театральності, музичності, глибокої духовності й величі.
The purpose of this final qualifying work is to analyze the works of V. Vysotsky to identify the factors that determine the poetic phenomenon "Vladimir Vysotsky" as a synthetic formation that provides originality, originality and uniqueness of the poet's lyrics and perception of his work as a poetic discovery of modernity. Vysotsky's poetry is diverse, it presents numerous models of social life, different images of heroes. It is a reflection of the human mentality of the second half of the twentieth century. The first chapter reveals the personality of Volodymyr Vysotsky in the context of the development of the author's song in the literary process of the second half of the twentieth century, analyzes the humanistic ideals of military and civic poetry of the poet. The second chapter highlights the essence of the problem of freedom in society in 1950-1970, conflict as a principle of creativity of Vladimir Vysotsky, the motive of lack of freedom and total disagreement with the world. The third section substantiates the essence of the poetic phenomenon "Vladimir Vysotsky": the synthetic nature of his talent, the cultural and axiological aspect of creativity and the originality of the colors of poetry. Based on the results of the work, conclusions were made about the invaluable contribution of V. Vysotsky to literary criticism in terms of reducing the distance between the author and the reader, expanding the possibilities of the word: emphasizing its theatricality, musicality, deep spirituality and greatness.

This thesis deals with the musical allusions in the literary works of Czech humanists of 16th century. The author presents the current applications of these sources in Czech musical historiography. Further attention is focused on the representatives of the humanist culture in the Czech lands, the possibilities of their connection with the musical culture and on the effort to point out their mutual ties and contacts. The second part of the thesis is focused on two specific personalities - Georgius Handschius and Jakub Srnovec - whose works illustrate the possibilities of deepening the use of this type of sources in musical-historiographical research. Keywords Georgius Handschius, Jakub Srnovec, Poetic Works, Music, musica, Humanism, 16th Century, Czech lands

Argomento della dissertazione è il cd. greco umanistico, lingua sfoggiata dagli eruditi rinascimentali tra XV e XVIII sec. Il fenomeno, sempre più oggetto del'attenzione degli studiosi, nacque in Italia alla fine del XIV sec. e si propagò a poco a poco per tutta l'Europa fino alla Scandinavia. La tesi analizza e commenta la traduzione greca dell'orazione "Pro Archia poeta" di Cicerone eseguita dal secentesco erudito polacco Nicolaus Zoravius e pubblicata a Cracovia nel 1632. Vi sono contenuti: l'introduzione, descrivente lo stato della ricerca, il fine e il metodo dello studio condotto; due capitoli, di cui il primo offre una panoramica storico-letteraria sul "ritorno del greco" in occidente dopo il discusso iato medievale, e sugli interessi grecistici in Polonia a partire dal XVI sec., notizie biografiche sull'autore e sulle circostanze intorno alla nascita dell'operetta; il secondo capitolo costitituisce l'analisi fliologico-glottologica del testo greco, i cui risultati sono raccolti e divisi per sezioni in un riepilogo; le conclusioni permettono di riassumere e discutere i risultati dell'analisi, di avanzare alcune ipotesi sull'uso dei sussidi lessicografici da parte del traduttore, nonché di proporre una futuri approfondimenti sui testi coevi necessari a una migliore inquadratura del fenomeno in un contesto europeo.
Przedmiotem dysertacji jest problematyka związana z tzw. „greką humanistyczną”, którą posługiwali się europejscy erudyci mówiący i piszący w języku greckim w XV-XVIII wieku. Znajomość greki jako zjawisko kulturowe narodziło się w humanistycznej Italii po kilku wiekach przerwy i szybko rozprzestrzeniło się na wiele innych krajów zaalpejskich aż po Skandynawię. Badania nad tym fenomenem to wyłoniona ze studiów nowołacińskich nowa gałąź wiedzy, która cieszy się w ostatnich latach coraz większym zainteresowaniem uczonych. W dysertacji, napisanej w języku włoskim, analizuję grecki przekład oracji Cycerona Pro Archia poeta (wydany w 1632 r. w Krakowie) autorstwa Mikołaja Żórawskiego (1595-1665). Jedyny znany drukowany egzemplarz przekładu przechowywany jest w Bibliotece PAN w Gdańsku. Praca składa się ze wstępu, dwóch głównych części, wniosków, bibliografii oraz dwóch aneksów. We Wstępie opisany jest przedmiot badań, cele oraz metodologia. W nawiązaniu do renesansowego zwrotu ad fontes w Rozdziale I rozważam humanistyczną recepcję antyku, przede wszystkim greckiego. Omawiam ponowne zainteresowanie studiami helleńskimi w Europie począwszy od końca XIV wieku, które stało się możliwe dzięki ówczesnej sytuacji politycznej i kontaktom uczonych bizantyńskich z włoskimi dworami. Następnie podkreślam ważną rolę, jaką odegrały humanistyczne przekłady łacińskie dzieł greckich w rozpowszechnieniu odkrytych utworów i omawiam cechy nowej praktyki translatorskiej, która wykazywała się odmiennością w stosunku do wieków poprzednich. Praktyka ta, znana rzymskim pedagogom i mająca przede wszystkim cele dydaktyczne, obejmowała również, choć w znacznie mniejszym stopniu, przekłady z łaciny na grekę, czego przykładem jest przedmiot moich badań. Na tle szerszej europejskiej perspektywy kreślę sytuację w Rzeczypospolitej między XVI a XVII w., szczególną uwagę skupiając na krakowskim środowisku akademickim i na początkach grecystyki w tamtejszym środowisku, wyszczególniając najczęściej czytanych autorów greckich i najwybitniejszych polskich tłumaczy oraz pisarzy w języku greckim. Następnie przedstawiam biografię Mikołaja Żórawskiego oraz środowisko, w którym tworzył i nauczał ten wszechstronny hellenista, jak również przytaczam okoliczności powstania greckiej translacji Pro Archia. Rozdział II stanowi trzon pracy. Tekst przekładu jest analizowany według zasad wypracowanych w badaniach kontrastywnych nad tłumaczeniami renesansowymi (W. Olszaniec, E. Sironen) i nad tekstami dwujęzycznymi z późnego antyku (R. Ferri). Korzystając z tych metod, zestawiłem tekst źródłowy i tekst docelowy, uwydatniając różnice i podobieństwa w strukturach obydwu tekstów i badając proces translatorski. W komentarzu zamieszczonym po każdej partii tekstu odnotowuję cechy graficzno-fonetyczne, morfologiczne, składniowe i leksykalne. Analiza dała interesujące wyniki związane z metodą i wyborami przekładowymi, zwłaszcza leksykalnymi, lecz także dotyczące poziomu znajomości greki w akademickim Krakowie u schyłku Renesansu. Dla większej przejrzystości wyniki analizy zostały podzielone na kategorie gramatyczne, rodzaje pojawiających się nieścisłości oraz wykaz rzadkich lub niepoświadczonych wyrazów. Zebrany materiał pozwolił w części Wnioski zarówno wyrazić opinię o jakości przekładu i trudnościach, z którymi borykał się jego autor, oraz wskazać domniemane źródła leksykograficzne, z których korzystał. Sformułowany został postulat, by dogłębnie przebadać pod względem językowym dzieła greckie innych autorów współczesnych Żórawskiemu. Postuluje się także ściślejszą współpracę badaczy greki humanistycznej, która mogłaby doprowadzić do stworzenia wspólnego zasobu leksykalnego, m.in. po to, aby rozwiązać kwestie związane z cyrkulacją słowników i ich użytkowaniem. Zamykają dysertację: Aneks I, stanowiący glosariusz łacińsko-grecki oraz Aneks II, zawierający reprodukcje fotograficzne gdańskiego starego druku.
The main subject of my PhD thesis is related to Humanist Greek, with special regard to 17th century in Poland. Humanist Greek as a definition is generally described as a literary movement of erudites writing and speaking Old Greek, which spread throughout Europe from the end of 14th till 18th century. It can be considered as a cultural phenomenon beginning in Italy and later involving the central regions of Europe, as well as the Nordic countries. More specifically, my dissertation presents a Greek Humanistic translation of the famous oration "Pro Archia poeta" by Cicero, made by Polish learned Nicolaus Zoravius (Mikołaj Żórawski) and printed in 1632 in Cracow. The dissertation contains an introduction, two main chapters, a conclusion, a bibliography and two appendices. In the introduction I describe the state of the art, the aims and the methods of my research. The first chapter attempts to give an overview to the broad topic of Humanistic reception of the antiquity. It especially concentrates on the most important moments of the revival of the Hellenic studies in Western Europe, after their general decay during the Middle Ages. This part deals mainly with the following matters: the contacts between the Italian Renaissance courts and the Byzantine scholars who made possible to learn Greek. The next part focuses on the topic of Humanistic translations. Translating from Greek into Latin became a common and appreciated practice, aiming at making new acquired books from the Eastern monasteries and libraries accessible to non-Greek readers. Moreover, original Latin texts were also occasionally converted into Greek by Byzantine scholars who wanted to learn Latin, as well as by teachers and their students. This aspect, to which belongs the subject of my study, is by the way rarer and mostly fulfilling didactic needs. The next part is dedicated to the study of Greek in 16th and 17th centuries Polish-Lithuanian Commonwealth, with special attention to the Cracow milieu and its best renowned exponents. There is an attempt to introduce the most read and translated ancient authors and to describe the methods of teaching Greek. The erudite literature (mostly poetic) written by Polish Hellenists in Ancient Greek is eventually mentioned. Biographical information about the author of the Greek translation and the context in which the text was developed are given in the next section. Some hypotheses on what could be the reason for the choice of such a work are also taken into account. In the second chapter, the focus is put on the Greek text. An in-depth linguistic analysis is conducted by comparing the original text to the translated one (according to the studies by W. Olszaniec, M. Cortesi, R. Ferri). The method of combining contrastively the texts, fragment by fragment, is meant to evidence differences and similarities between the versions and to understand the translation processes that were involved. In the comments following every excerpt of text, I observe the morphological features, the syntactical structures and vocabulary. The analysis brought to light a number of interesting results, showing the peculiarities of Zoravius’ grammatical and stylistic choices. For a more comprehensible scrutiny of this outcome, in the next part the most valuable linguistic facts are displayed in a schematic way. The collected material allows to discuss some conclusions in the last part, about the quality of the translation and the lexicograpgic tools (dictionaries and lexica) that seem to have been used by Zoravius. Few last recommendations are added on the need for deeper investigation of other contemporary Humanist Greek texts from a linguistic point of view, and for promoting collaboration with other scholars to create a lexical database. It has been provided an implementation in Appendix 1 with a Latin-Greek glossary with the terms of the oration and their Greek counterparts, and the photographic reproduction of part of the old book in Appendix 2.