Tesis sobre el tema "Poetry - literary criticism"
Siga este enlace para ver otros tipos de publicaciones sobre el tema: Poetry - literary criticism.
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Consulte los 50 mejores tesis para su investigación sobre el tema "Poetry - literary criticism".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Explore tesis sobre una amplia variedad de disciplinas y organice su bibliografía correctamente.
1
Nixon, Scott Michael. "A reading of Thomas Carew in manuscript". Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319053.
Texto completo
2
Paleou, Matrona. "Literary criticism, poetry and ideological commitment : C.P. Cavafy and the Greek Left ( 1950-1974)". Thesis, University of Birmingham, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529793.
Texto completo
3
Capp, Laura. "Poetry by post". Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/4951.
Texto completoResumen
Poetry by Post is a four-month poetry subscription service that will run from November of 2013 to February of 2014. I will produce one mailing per month that will include a letterpress-printed broadside that features a poem of my choosing and an accompanying literary analysis and reply postcard, also letterpress-printed, all contained within calligraphed envelopes and posted with vintage stamps. Subscriptions are available at $150 for the series or $50 for an individual mailing and will not exceed 50 in number. The inaugural Poetry by Post will feature Midwestern poets Jennie Kinneberg Wrisley, Eric McHenry, Catherine Tufariello, and Ted Kooser. I have taken "Midwestern" to mean anyone who has simply spent a good bit of time in the large swath of land in the middle of the U.S. And much like the Midwest, the poetry featured will be plainspoken but no less profound for that.
4
Atanassova, Rossitza I. "Doctrine, polemic and literary tradition in some hexameter poems of Prudentius". Thesis, University of Oxford, 2001. http://ora.ox.ac.uk/objects/uuid:f74b5c1a-7b1d-42ae-afe7-bebd9aa7caf7.
Texto completoResumen
The thesis, the topic of which is restricted to the polemical didactic poems, Apotheosis, Hamartigenia and Contra Symmachum 1-2, aims to establish the attitudes of Prudentius to the literary tradition and argues for his relationship with the Latin classical poets. Its main argument is that the hexameter poems as a group can be profitably studied from a stylistic angle, since they show how Prudentius combined, and used with innovation, the styles of several poets, namely Lucretius, Virgil and Juvenal, and in many cases engaged with the literary tradition as a whole. Chapter I surveys, as reflected in the poems, Prudentius' awareness of the political, religious and literary milieu in the Christian Empire of the West in his day. Chapter II examines how Prudentius employed the style of argument and imagery in the D.R.N. to present Christian doctrines on the body and the soul, and to reject pagan superstition. Chapter III shows how with much imagination and respect Prudentius adapted Virgil's phraseology and techniques to give new Christian interpretations of some mythical and historical themes in the Aen., such as the 'Golden Age' and the battle of Actium, and of topics on agriculture from the Georg. Chapter IV argues that, like other fourth century Christian writers, the poet entered into the spirit of Satire and alluded to Juvenal's themes and language in his treatment of the topics of sin and sexuality. Finally, in Chapter V Prudentius' adaptations of the biblical accounts in Gen. 19 and of Ps. 136 are used to demonstrate how allegory, which is a main feature of his poetry, was combined successfully with different classical techniques. In conclusion, the hexameter poems demonstrate that Prudentius did not reject classical poetry on the basis of its content, but used both its themes and poetic techniques in order to merge the ancient with the Christian literary tradition.
5
Paulsen, Timothy David. "Exploring literary perspectives of poetry though an interactive, multimedia, learning environment". Diss., This resource online, 1996. http://scholar.lib.vt.edu/theses/available/etd-10032007-172058/.
Texto completo
6
Louw, Denise Elizabeth Laurence. "A literary study of paranormal experience in Tennyson's poetry". Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002292.
Texto completoResumen
My thesis is that many of Tennyson's apparently paranormal experiences are explicable in terms of temporal lobe epilepsy; and that a study of the occurrence, in the work of art, of phenomena associated with these experiences, may be useful in elucidating the workings of the aesthetic imagination. A body of knowledge relevant to paranormal experience in Tennyson's life and work, assembled from both literary and biographical sources, is applied to a Subjective Paranormal Experience Questionnaire, compiled by Professor V.M. Neppe, in order to establish the range of the poet's apparently "psychic" experiences. The information is then analysed in terms of the symptomatology of temporal lobe epilepsy (TLE), and the problems of differential diagnosis are considered. It is shown, by means of close and comparative analyses of a number of poems, that recurring clusters of images in Tennyson's poetry may have their genesis in TLE. These images are investigated in terms of modern research into altered states of consciousness. They are found to be consistent with a "model" of the three stages of trance experience constructed by Professor A.D. Lewis-Williams to account for shamanistic rock art in the San, Coso and Upper Paleolithic contexts. My study of the relevant phenomena in the work of a nineteenth century English poet would seem to offer cross-cultural verification of the applicability of the model to a range of altered-state contexts. This study goes on to investigate some of the psychological processes which may influence the way in which pathology is manifested in the poetry of Alfred Tennyson. But, throughout the investigation, the possible effects of literary precursors and of other art forms are acknowledged. The subjective paranormal phenomena in Tennyson's poems are compared not only with some modern neuropsychiatric cases, but also with those of several nineteenth-century writers who seem to have had similar experiences . These include Dostoevsky and Edward Lear, who are known to have been epileptics, and Edgar Allan Poe. Similarity between some aspects of Tennyson's work and that of various Romantic poets, notably Shelley, is stressed; and it is tentatively suggested that it might be possible to extrapolate from my findings in this study to a more general theory of the "Romantic" imagination.
7
Moore, Lindsay Emory. "The Laureates’ Lens: Exposing the Development of Literary History and Literary Criticism From Beneath the Dunce Cap". Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822784/.
Texto completoResumen
In this project, I examine the impact of early literary criticism, early literary history, and the history of knowledge on the perception of the laureateship as it was formulated at specific moments in the eighteenth century. Instead of accepting the assessments of Pope and Johnson, I reconstruct the contemporary impact of laureate writings and the writing that fashioned the view of the laureates we have inherited. I use an array of primary documents (from letters and journal entries to poems and non-fiction prose) to analyze the way the laureateship as a literary identity was constructed in several key moments: the debate over hack literature in the pamphlet wars surrounding Elkanah Settle’s The Empress of Morocco (1673), the defense of Colley Cibber and his subsequent attempt to use his expertise of theater in An Apology for the Life of Colley Cibber (1740), the consolidation of hack literature and state-sponsored poetry with the crowning of Colley Cibber as the King of the Dunces in Pope’s The Dunciad in Four Books (1742), the fashioning of Thomas Gray and William Mason as laureate rejecters in Mason’s Memoirs of the Life and Writings of William Whitehead (1788), Southey’s progressive work to abolish laureate task writing in his laureate odes 1813-1821, and, finally, in Wordsworth’s refusal to produce any laureate task writing during his tenure, 1843-1850. In each case, I explain how the construction of this office was central to the consolidation of literary history and to forging authorial identity in the same period. This differs from the conventional treatment of the laureates because I expose the history of the versions of literary history that have to date structured how scholars understand the laureate, and by doing so, reveal how the laureateship was used to create, legitimate and disseminate the model of literary history we still use today.
8
Mark, Alison Katherine Marshall. "Reading between the lines : language, experience and identity in the work of Veronica Forrest-Thomson". Thesis, Birkbeck (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362716.
Texto completo
9
Cremin, Kathleen Mary. "Women, domesticity and Irish writing : foundations for a new kitchen?" Thesis, University of York, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313905.
Texto completo
10
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.
Texto completoResumen
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.
11
Young, Sharon. "The country house in English women's poetry 1650-1750 : genre, power and identity". Thesis, University of Worcester, 2015. http://eprints.worc.ac.uk/6439/.
Texto completoResumen
This thesis examines the depiction of the country estate in English women’s poetry, 1650-1750. The poems discussed belong to the country house genre, work with or adapt its conventions and tropes, or belong to what may be categorised as sub-genres of the country house poem. The country house estate was the power base of the early modern world, authorizing social status, validating political power and providing an economic dominance for the ruling elite. This thesis argues that the depiction of the country estate was especially pertinent for a range of female poets. Despite the suggestive scholarship on landscape and place and the emerging field of early modern women’s literary studies and an extensive body of critical work on the country house poem, there have been to date no substantial accounts of the role of the country estate in women’s verse of this period. In response, this thesis has three main aims. Firstly, to map out the contours of women’s country house poetry – taking full account of the chronological scope, thematic and formal diversity of the texts, and the social and geographic range of the poets using the genre. Secondly, to interrogate the formal and thematic characteristics of women’s country house poetry, looking at the appropriation and adaptation of the genre. Thirdly, to situate the selected poetry both within and against the extensive and formally published male-authored canon and the more general literary and historical contexts of the early modern period. Across these related strands of discussion, the study has two important implications for our understanding of late seventeenth- and early eighteenth-century poetry: it adds to our knowledge of women’s poetic practices of the period and extends and complicates our understanding of the country house genre. Each chapter highlights a particular engagement with the genre responding to a complex of historical contexts, literary trends and personal circumstance. Chapter one will explore the contexts which prompt the emergence of the country house poem and the shape and detail of the genre, 1600–1650. It also examines where the specific gendered contexts of women’s writing practices are relevant to the selection of texts. Chapter two focuses on the thematic and formal interplay in Katherine Austen’s manuscript miscellany ‘Book M’ and role the country house genre plays in exploring and negotiating women’s relationship to property. Chapter three shares many of the same historical and literary contexts but from a different religio-political standpoint and focuses on Lucy Hutchinson’s manuscript collection ‘Elegies’. Chapter four examines the appropriation and re-positioning of the country house genre in the poetry of Anne Finch and Jane Barker, arguing that as the post- Restoration period began, the motivation to explore the country house as a symbol of legitimate political power, a location and symbol of retirement and retreat and the site of financial and cultural investment did not wane, but was reworked by Finch and Barker to explore their political sympathies for the Stuart monarchy. Chapter five explores the use of the country house genre by poets associated with Whig political sympathies: Lady Mary Wortley Montagu and Anne Ingram. Largely unaffected by socio-economic or political marginalisation, both Montagu and Ingram enter into a public, and politically inflected, debate on the importance of taste. Chapter six explores two writers, Mary Leapor and Mary Chandler, who belong to an emerging body of writers of mercantile or labouring class. The discussion will focus on Leapor’s ‘Crumble-Hall’ and Chandler’s A Description of Bath and the contexts of consumerism and tourism to which both poems respond.
12
Wang, Ping. "Sturdy steeds, autumn wind, apricot flowers, spring rain : a literary stylistic approach to the lyrics of Li Yu and Li Qingzhao". Phd thesis, School of Asian Studies, 2000. http://hdl.handle.net/2123/12118.
Texto completo
13
Dahroj, Fawaz Ahmad. "The effect of modern linguistics on Arabic literary criticism : the stylistic approach and its application to Arabic poetry". Thesis, University of Glasgow, 1998. http://theses.gla.ac.uk/6494/.
Texto completoResumen
The main objective of this study is to show how "the Stylistic Phenomenon" has entered Arabic literary critical life. It aims to examine "Practical Criticism" in Arabic, which adopts a "stylistic approach". In order to achieve this, however, it is essential to have examined a complete picture of this approach in Arabic literary life in all its aspects, most of which are concerned with issues, of stylistic theory rather than practical stylistics. Efforts have been devoted to establishing it as a separate recognised approach: in the theory of translation, in matters of terminology, in traditional Arabic literary criticism, etc. The "Stylistic Approach" in Arabic literary life, as examined here, also illustrates the whole situation of the real relationship of Arabic literary criticism with modern literary criticism in The West. There are various channels of connection with modern Western literary criticism, such as the translation of the most important works relating to this topic into Arabic, either as monographs or as articles in literary journals. There are also Arab writers who have been educated in The West and who are applying the stylistic approach to Arabic literature. This study shows the connection of Arab scholarship with the modern linguistic revolution in the West, from which the stylistic approach is the fruit. It is clear that the most important figures in modern linguistics, particularly those whose works are influenced by modern Western linguistics or have been affected by modern Western literary criticism, are well-known, and the Arab reader is familiar with Althusser, Bakhtin, Bally, Barthes, Brooks, Chatman, Chomsky, Cohen, Derrida, Foucault, Genette, Jakobson, Levi-Strauss, Saussure and many others.
14
France, Angela. "Hide : a 21st century woman's response to the first person in poetry". Thesis, University of Gloucestershire, 2015. http://eprints.glos.ac.uk/3871/.
Texto completoResumen
This thesis, titled ‘Hide: A 21st century woman’s response to the first person in poetry’ is a creative and critical examination of the challenges and benefits of the first-person approach in poetry. It is in two parts, consisting of a collection of sixty poems and a critical investigation into the research leading to, and engendered by, the poems. Hide is a place from which to observe, hide is skin, hide is deliberate concealment; all of these meanings can be seen to reflect some of the concerns examined in both the creative and critical parts of the thesis. ‘Hide’s’ layers of meaning directly engage with what 'I' we choose to conceal and what 'I' we choose to show, as well as residing on the boundaries between privacy and exposure. The poems spring from investigations of my central concerns of autobiography, family history, the workings of memory, and ancestral knowledge in the form of ‘cunning’. The poems are an active investigation into the challenges and benefits of the ‘I’; the approaches and techniques for using it as well as the reasons for, and strategies involved in, avoiding the ‘I’. The critical part of the thesis is an auto-ethnographic study of the poems in the collection, together with examination of the difficulties faced by women writing in the first-person. The research includes thematic analysis of published reviews, and examination of the critical landscape within which women are writing.
15
Busnelli, Gabriele. "Reasoning, Questioning, Perception, Bibliography : The Paths of Knowledge in the Poetry of Callimachus". University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1583998826913403.
Texto completo
16
Choi, Junho. "Understanding the literary structures of Acrostic Psalms : an analysis of selected poems". Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85583.
Texto completoResumen
Thesis (MTh)--Stellenbosch University, 2013.ENGLISH ABSTRACT: By means of literary, linguistic and comparative literary approaches, this study examines the literary structure of the alphabetical acrostic poems in the Psalms. First, a literary approach is used to analyze the form and content of each alphabetical acrostic poem to show that the literary structure of the poems is varied. Selected Psalms 9-10, 111 and 112 are translated from the Hebrew and compared to ancient Near Eastern languages especially Akkadian and Ugaritic. Second, by means of linguistic approaches, the literary structure of each poem is determined on both micro and macro levels using the researcher’s own translations of these psalms. Furthermore, a comparative literary approach is employed to compare the forms of ancient Near Eastern acrostics, in particular Akkadian, Egyptian and Ugaritic poems, to Hebrew acrostics. The analysis reveals both similarities with other ancient Near Eastern forms as well as the uniqueness of the Hebrew alphabetical acrostic poems. Both linguistic and literary insights are used to determine the relationship between the different forms. The findings suggest that the alphabetical acrostic poems were probably written around or after 1000 B.C.E. since the ancient Near Eastern poems were written before 1000 B.C.E. The unique 22-line form of the Hebrew alphabetical acrostics also indicates that Hebrew thought was distinct from what can be observed in other ancient Near Eastern texts. On the basis of this research, a conclusion is reached and suggestions for future research are made.
AFRIKAANSE OPSOMMING: Deur literêre, linguistiese en vergelykende literêre benaderings ondersoek hierdie studie die literêre struktuur van die alfabetiese akrostiese gedigte in die Psalms. Eerstens word ‘n literêre benadering gebruik om die vorm en inhoud van elke alfabetiese lettervers te ontleed om aan te toon dat die literêre struktuur van die gedigte verskillend is. Die gekose Psalms 9-10, 111 en 112 word uit die Hebreeus vertaal en in vergelyking met die Ou-Nabye-Oosterse tale, veral Akkadiese en Ugarities, bespreek. Tweedens, deur linguistiese benaderings, word die literêre struktuur van elke gedig op beide mikro-en makro vlakke bepaal deur gebruik te maak van die navorser se eie vertalings van hierdie psalms. Verder, word ‘n vergelykende literêre benadering aangewend om die vorms van die Ou-Nabye- Oosterse akrostiese gedigte, in die besonder Akkadies, Egiptiese en Ugaritiese gedigte, met Hebreeuse akrostiese gedigte te vergelyk. Die ontleding toon die ooreenkomste met ander antieke Nabye- Oosterse vorms sowel as die uniekheid van die Hebreeuse alfabetiese akrostiese gedigte. Beide linguistiese en literêre insigte word gebruik om die verhouding tussen die verskillende vorms te bepaal. Die bevindinge dui daarop dat die alfabetiese akrostiese gedigte waarskynlik geskryf is rondom of later as 1000 vC, angesien die antieke Nabye-Oosterse gedigte voor 1000 vC geskryf is. Die unieke 22-reël vorm van die Hebreeuse alfabetiese akrostiese gedigte dui ook aan dat die Hebreeuse denke te onderskei is van wat in ander antieke Nabye-Oosterse tekste gereflekteer word. Gebaseer op hierdie navorsing, word tot ‘n gevolgtrekking gekom, en word voorstelle vir toekomstige navorsing gemaak.
17
RIS, CYNTHIA NITZ. "IMAGINED LIVES". University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054222125.
Texto completo
18
Anderson, Robin. "Bridging the Past and the Present: The Historical Imagination in the Criticism and Narrative Poetry of C. S. Lewis". Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/25482.
Texto completoResumen
C. S. Lewis is best known as the author of The Chronicles of Narnia, but Lewis’s poetry tends to be treated separately from his other works, or as an antecedent to his more famous prose works. This thesis shows that Lewis’s paradoxical views of literary history, cultural death, reason and imagination are reflected in his narrative poems. George Watson says that Lewis was “a paradoxical thing, a conservative iconoclast, and he came to the task well-armed” (1). He is both a traditionalist and a rebel against his times. I explain Lewis’s paradoxes in terms of the concepts of history, memory, reason and imagination, and show that Lewis’s position was a negotiation of his own historical and cultural context. Lewis’s poems and scholarly work indicate that his approach to historical terms is first to underline divergence, and then to emphasize a use of seemingly polarized terms in order to unify them.
19
Kaminski, Margot. "Challenging a literary myth, long poems by early Canadian women". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0024/MQ37562.pdf.
Texto completo
20
Soper, Harriet Clementine. "A count of days : the life course in Old English poetry". Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277493.
Texto completoResumen
This thesis investigates the representation of the human life course in Old English poetry. It attends to constructions of the lifespan as a durational unit, as well as the ‘stages’ or discrete age-related experiences which together form patterns for life development, shared across a diverse range of texts. Throughout this study, the importance of close-reading is emphasised; the bulk of the analysis is concerned with issues of style, lexis and narrative. By these means, it becomes possible to perceive how concepts of the human life course shade into other networks of meaning: these include ideas of ensoulment and embodiment, life experiences of non-human entities, wider narrative patterns which impact representations of life progression, mechanisms and hierarchies of social role and communal existence, and systems of memory collection and the nurturing of ‘wisdom’. The introductory chapter addresses various possible modes of ‘life course’ structuring, in both Anglo-Saxon writings and modern scholarly traditions. Latin and Old English vocabularies of ageing are summarised and an overview is given of previous scholarship attendant on the Anglo-Saxon material. The following three chapters of the thesis then assess representations of different parts of the life course in different groups of texts. The second chapter is concerned with depictions of early life in the Exeter Book Riddles; it contends that these texts have been unduly passed over in discussions of ageing in Old English, seemingly due to their (mostly) non-human subjects. The third chapter addresses the treatment of early and late adulthood in the verse holy lives Andreas, Guthlac A, Juliana and Judith: it is in this chapter that concepts of the life course most clearly intersect with issues of social organisation. The fourth chapter is concerned with the characterisation of old age in Beowulf and Cynewulf’s epilogue to Elene, alongside other texts; the concept of ‘wisdom’ acquired through experience is closely scrutinised, and the verbal and poetic elements of good judgment are elucidated. This thesis concludes that Old English poetry presents human ageing in a manner which encompasses a diverse range of experiences and interrelates with a multitude of wider conceptual frameworks. As such, the texts do not subscribe neatly to an ‘ages of man’ idea. Nonetheless, attention paid to the patterns of human ageing which do emerge from the poems can facilitate more sensitive and productive readings of the texts themselves. The thesis closes with some examples of passages which may be newly interpreted and appreciated in the light of how the life course is conceived across the Old English poetic corpus.
21
Fasey, Rosemary J. "Writers in the service of revolution : Russia's ideological and literary impact on Spanish poetry and prose, 1925-36". Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14655.
Texto completoResumen
This thesis is a comparative literary study which is conducted by placing the reception of Russian literature in Spain during the period 1918-36 within the context of the interplay of literature and the social and political situations in which it is written. It first places the boom in the publication of Russian literature in the late 1920s and 1930s within the context of the history of the reception of Russian literature in Spain, providing a comprehensive survey of that history. Next, it describes the impact of the Russian Revolution and the formative years of the Soviet Socialist state on the political situation in pre-Civil War Spain, including the ideological links between the political situations of both countries. In pre-Civil War Spain, the revolutionary atmosphere changed the mood, subject matter and style of literature, and certain writers, recognizing their civic duty, began to produce literature that had a socially critical and didactic role. During that period, given the political context and the development of politically committed literature, Spanish intellectuals and artists of a Marxist persuasion derived incentive from their Russian counterparts. Russian literature has traditionally been the forum for social criticism, and has had a profoundly revolutionary dimension. Pre-revolutionary writers such as Dostoevsky and Andreev have been perceived by outsiders as revolutionary writers, and, in that capacity, have enjoyed great popularity abroad, including Spain. In the Soviet era, Mayakovsky was often considered to be the "Poet of the Revolution", and Gorky was the chief spokesman in the promotion of socialist ideals in literature in the twenty years following the Revolution. In Spanish pre-Civil War fiction, both the social novel and poetry were instrumental in conveying overtly Marxist messages. The thesis concludes with a comprehensive study about certain Spanish writers and their works, in the domains of poetry and the novel, specifically seeking evidence of the impact of the literature and ideology which was emanating from Russia in the first third of the twentieth century.
22
Murdock, Robert Pearson III. "Scarecrow". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1195513157.
Texto completo
23
Oliveira, Edmon Neto de. "Militância poética – indiscernibilidade entre poesia, crítica e filosofia na escrita de Alberto Pucheu". Universidade Federal de Juiz de Fora, 2014. https://repositorio.ufjf.br/jspui/handle/ufjf/539.
Texto completoResumen
Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-27T16:22:45Z
No. of bitstreams: 1
edmonnetodeoliveira.pdf: 956499 bytes, checksum: 8cae40f024f9cb953dc5f6388467bd6e (MD5)Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-28T10:47:29Z (GMT) No. of bitstreams: 1 edmonnetodeoliveira.pdf: 956499 bytes, checksum: 8cae40f024f9cb953dc5f6388467bd6e (MD5)
Made available in DSpace on 2016-01-28T10:47:29Z (GMT). No. of bitstreams: 1 edmonnetodeoliveira.pdf: 956499 bytes, checksum: 8cae40f024f9cb953dc5f6388467bd6e (MD5) Previous issue date: 2014-03-21
FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais
A presente pesquisa faz uma leitura da obra de Alberto Pucheu, trazendo à luz a discussão sobre o fazer poético, crítico e filosófico, vistos como uma atitude criadora. Para o autor, existe uma indistinção entre poesia e filosofia, assim como entre poesia e crítica, que são saberes que se encontram em um “desguarnecimento de fronteiras”, cujo encontro se dá no interior da própria criação. Nessa perspectiva híbrida, buscar-se-á compreender a maneira pela qual ocorre a fusão entre esses campos, privilegiando o pensamento de pós-estruturalistas, como Roland Barthes, Gilles Deleuze e Giorgio Agamben, pensando, por conseguinte, na relação estabelecida entre homem e cidade, imagem e conceito, assim como na aproximação entre corpo e máquina, real e linguagem.
This research takes a reading of the work of Alberto Pucheu, bringing to light the discussion on the poetic, critical and philosophical work, seen as a creative attitude. For the author, there is a lack of distinction between poetry and philosophy, and between poetry and criticism which are knowledges that are in a "dissolving boundaries", whose encounter takes place within the creation itself. In this hybrid approach, will seek to understand the way in which the merger occurs between these fields, focusing on the post-structuralist thought, as Roland Barthes, Gilles Deleuze and Giorgio Agamben, thinking, therefore, the relationship between man and city, image and concept, as well as the rapprochement between body and machine, real and language.
24
唐梓彬. "任昉及詩文研究 = A study of Ren Fang's life and literary works". HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1146.
Texto completo
25
Ballardini, Anny. "Ghost Dance in 31 Movements". ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/826.
Texto completoResumen
A kind of poetry that tries to understand contemporary social and philosophical issues as much as behaviors by rewriting in a poetic language the video artwork of some of the main representatives of modernism and postmodernism. Such poetry is deprived of confessional hues, any personal reference has to be ascribed to a mirroring effect by which the single person empathically absorbs and projects what is conveyed, be it stemming directly from the historical time of the artwork's making and inherited, or alive at the time of its actual viewing. By following a restructuring process started at the beginning of the twentieth century, the writing analyzes possible ways to outline developments or to underline breaking points. Poetry is seen as an active medium within the formation of societies characterized as it is by its highly introspective power, not restricted to the individual but open to all beings perceived as members of one entity.
26
Fajardo, Luís Cláudio Costa. "Reflexos Poéticos: diálogos entre Apollinaire, Neoconcretismo, Poema/Processo e a poesia eletrônica de Erthos Albino de Souza, Fernando Nabais, Giselle Beiguelman e Rui Torres". Universidade Federal de Juiz de Fora (UFJF), 2014. https://repositorio.ufjf.br/jspui/handle/ufjf/4645.
Texto completoResumen
Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-25T11:46:27Z
No. of bitstreams: 1
luisclaudiocostafajardo.pdf: 6131532 bytes, checksum: 38b2eb1d694660bb15f044a642b482aa (MD5)Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-25T13:31:30Z (GMT) No. of bitstreams: 1 luisclaudiocostafajardo.pdf: 6131532 bytes, checksum: 38b2eb1d694660bb15f044a642b482aa (MD5)
Made available in DSpace on 2017-05-25T13:31:30Z (GMT). No. of bitstreams: 1 luisclaudiocostafajardo.pdf: 6131532 bytes, checksum: 38b2eb1d694660bb15f044a642b482aa (MD5) Previous issue date: 2014-04-30
Esta tese sustenta a hipótese de que o Neoconcretismo e o Poema/Processo, movimentos artísticos e poéticos brasileiros, introduziram conceitos estéticos capazes de fundamentar uma abordagem crítica para a poesia eletrônica. Tal abordagem baseia-se na identificação de três pontos fundamentais comuns entre os movimentos citados e os poemas eletrônicos: a fusão entre os signos verbal e visual na poesia, o corpo físico do espectador como agente na fruição estética e a participação do leitor em processos de criação poética. A investigação teórica realiza-se através da análise de poemas eletrônicos de autores brasileiros e portugueses. Nesta perspectiva, são investigadas as relações destas experiências poéticas eletrônicas com poemas visuais representantes das vanguardas artísticas europeias do início do século XX e com os movimentos pós-concretistas no Brasil, mais especificamente, o Neoconcretismo e o Poema/Processo. O corpus é formado por experiências poéticas eletrônicas de Erthos Albino de Souza, Fernando Nabais, Giselle Beiguelman e Rui Torres.
This doctoral dissertation tries to prove the hypothesis that Neoconcretism and Process Poetry, Brazilian artistic and poetic movements, introduced aesthetic concepts capable of justifying a critical approach to electronic poetry. This approach is based on identifying three fundamental common points between the aforementioned movements and electronic poems: the encounter between the verbal and visual signs in poetry, the physical body of the viewer as agent in aesthetic fruition and the reader´s participation in the creating poetic process. The theoretical research was carried out through the analysis of some Brazilian and Portuguese electronic poems. From this perspective, we attempted to investigate the relationships between the poetic experiences with electronic visual poems which represent the European avant-garde movements of the early twentieth century and the post-concretists movements in Brazil, more precisely Neoconcretism and and Process Poetry. The corpus is made up by some electronics poetic experiences created by Erthos Albino de Souza, Fernando Nabais, Giselle Beiguelman, and Rui Torres.
27
Alarauhio, J. P. (Juha-Pekka). "Matthew Arnold’s epics:towards a communicative approach". Doctoral thesis, University of Oulu, 2019. http://urn.fi/urn:isbn:9789529414253.
Texto completoResumen
Abstract This thesis is, on the one hand, an investigation into Matthew Arnold’s (1822–1888) literary communications and, on the other hand, an attempt to mediate between his writings and a twenty-first century readership. Arnold’s oeuvre is substantial and varied, but this study focuses on his epic poetry, which has remained a neglected part of his body of work despite its significance both to the author himself and to developing an understanding of Arnold’s development as a poet, cultural critic, and iconic ‘Victorian sage’. Furthermore, it is his epic poetry that seems to most fully address the theme of communication, and thus these longer poems function as points of orientation for a broader inquiry into Arnold’s communications. Arnold himself was keenly aware of the complicated status of communicative acts, but these complications have not always been acknowledged by the generations of criticism that have emerged since his death. Critics have thus produced images of Arnold which have not always done justice to the complexity of his communications. Based on an understanding of ‘communicative’ as a position of mediation between writers and readers, this thesis addresses the need for a more balanced communicative framework for mediating between Arnold’s writings in general — and his epic poetry in particular — his critics, and present audiencesTiivistelmä Tässä väitöskirjassa tarkastellaan Matthew Arnoldin (1822–1888) kirjallista kommunikaatiota, pyrkien välittämään hänen kirjoitustensa merkityksiä 2000-luvun yleisölle. Arnoldin kirjallinen tuotanto on runsas ja monipuolinen, mutta tässä tutkimuksessa keskitytään erityisesti hänen runoepiikkansa tulkintaan. Tämä osa hänen työstään on jäänyt tutkimuksessa verrattain vähäiseen asemaan huolimatta siitä, että Arnoldin kaksi lyhyttä runoeeposta olivat tärkeitä paitsi hänelle itselleen, mutta erityisesti osana hänen kehitystään runoilijana, kulttuurikriitikkona ja ikonisena viktoriaanisen ajan julkisena intellektuellina. Arnoldin runoepiikka vaikuttaa myös tutkivan kommunikaation teemaa laajemmin kuin hänen muut runonsa, ja toimii myös tällä tavoin keskiönä hänen oman kommunikaationsa laajemmalle tarkastelulle. Arnold oli varsin tietoinen kommunikaatiopyrkimystensä haasteista, mutta näitä ongelmia ei ole hänen kuolemansa jälkeen ilmestyneessä kritiikissä aina otettu huomioon. Näin on syntynyt monia Arnold-käsityksiä, jotka eivät välttämättä tee oikeutta hänen kommunikaationsa monivivahteisuudelle. Tämä väitöskirja pyrkii tuottamaan tasapainoisemman kommunikatiivisen lähestymistavan toimiakseen välittäjänä Arnoldin kirjoitusten, eritoten hänen eepostensa, ja nykylukijan välillä
Original papers The original publications are not included in the electronic version of the dissertation. Alarauhio, J.-P. (2012). Towards a Dialogical Approach to Matthew Arnold. In Sell, Roger D. (Ed.) Literary Community-Making: The dialogicality of English Texts from the Seventeenth Century to the Present. (131 - 142) Amsterdam: John Benjamins. Alarauhio, J.-P (2007). Sohrab and Rustum and Balder Dead – Communicating about Communication. In Nordic Journal of English Studies Volume 6, No. 2 (2007), 47 - 64. Alarauhio, J.-P (Forthcoming). Sohrab and Rustum – Matthew Arnold’s Spectacle
28
Slagle, Judith Bailey. "Literary Activism: James Montgomery, Joanna Baillie, and the Plight of Britain’s Chimney Sweeps". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/720.
Texto completoResumen
Excerpt: On 6 February 1824, Joanna Baillie Notified Her Friend Walter Scott that Scottish poet James Montgomery, then living in Sherrield, England, had written to ask her for a poem on the plight on chimney sweeps, also known as climbing boys.
29
Sá, Marina Damasceno de. "A poetagem bonita: edição e estudo de livro inédito de Mário de Andrade". Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-21022019-130808/.
Texto completoResumen
Esta tese teve como objetivo concretizar a edição de texto fidedigno e anotada de A poetagem bonita, obra idealizada por Mário de Andrade (1893-1945), segundo se depreende de indicação do autor modernista no Fichário Analítico, manuscrito preservado em seu Fundo pessoal, no Instituto de Estudos Brasileiros da Universidade de São Paulo (IEB-USP). A obra, não levada a termo, previa a reunião de artigos de crítica literária, divulgados em periódicos nos anos de 1920 e 1930, tematizando a poesia de vanguarda. Os artigos, localizados e organizados pela pesquisa, oferecem uma reflexão do autor sobre a produção poética no modernismo. A pesquisa se propôs a realizar uma avaliação crítica do material, detectando os principais temas abordados e as linhas de força do pensamento estético de Mário de Andrade; pretendeu ainda ampliar o conhecimento da produção modernista.This thesis aims to research, organize, and prepare the critical edition of articles of literary criticism by Mário de Andrade that focus predominantly on Brazilian Modernist poetry, published in the 1920s and 1930s. These articles are relevant to studies of Brazilian Modernism because they bring to light Mário de Andrade\'s critical reflection on the movement, in the heat of the \"first moment of Modernism.\" This dissertation has a twofold aim: it establishes a reliable and annotated edition of a proposed collection of essays of criticism by Mário de Andrade, whose history and general outline are preserved in the writers archives, and proceeds to undertake a critical study of the material. By bringing greater visibility to documents that are now to be found in Mário de Andrade\'s library and papers, which have been deposited in the Instituto de Estudos Brasileiros da Universidade de São Paulo, this dissertation contributes to expanding our understanding of the historical reception of Brazilian Modernism.
30
Andersson, Elvis Sofia. "Recensionernas retorik : Om könsroller i kulturjournalistiken". Thesis, Högskolan Dalarna, Litteraturvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:du-12614.
Texto completoResumen
At the centre of this study lies the question if normative gender thinking affects the way poetry gets reviewed and how the reviews are written, this in relation to both the gender of the reviewer and the poet. The study crosses three academic fields; gender studies, poetry and journalism, and is based on the cultural studies theory of media affecting and even creating the world around it. The study is based on two types of analysis. One quantitative analysis based on the thematic criticism theory about detail studies that shows bigger patterns, this analysis focuses on how the poet and his/hers work are being treated in the reviews in areas such as how much space they´re given in the newspapers, how they are named by the reviewer and the tendency to quote the reviewed work. And one qualitative analysis based on the new criticism method of close reading, that focuses on the reviewers way of writing and how that may be connected with theories of gender differences, this both connected to the gender of the reviewers and the poets. The material chosen for this study are all the reviews that were published in the same newspapers and that reviewed two specific poetry works by two specific poets chosen with great sensibility to age and career so that their difference in gender would be the most significant difference between them. The works were chosen based on year of publishing, they were supposed to be published as newly as possible and as close to each other in time as possible. The works I ended up with were Dimman av allt (2001) and Svart som silver (2008) by Bruno K. Öijer and Silverskåp (2000) and Nu försvinner vi eller ingår (2007) by Birgitta Lillpers. The results of this study show several differences in how poetry is being judged and how poetry reviews are being written are connected with the gender of the poets and the reviewer. Lillpers got 35% less space in the newspapers and Öijers poetry got quoted a lot more which confirms that female poetry often is considered as less important than the male poetry, and that men in general tends to be judged as more professional than woman. The male reviewers tended to express themselves with greater certainty than the female reviewers who held a more professional tone in their reviews and focused more on the technical aspects of the poetry. This confirms the theory of the male words are being looked upon as the truth but contradicts the theory of women writing more based on personal experience and of women being less skilled in language techniques. In conclusion, there are differences in how poetry gets reviewed and how the reviews are written that are connected to the genders of the poet and the reviewer but these differences are complex and does not show a clear normative way of thinking about gender
31
Becker, Charity Dawn. "Constructing the mother-tongue, language in the poetry of Dionne Brand, Claire Harris, and Marlene Nourbese Philip". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0016/MQ54604.pdf.
Texto completo
32
Brooks, Scott A. "To move, to please, and to teach : the new poetry and the new music, and the works of Edmund Spenser and John Milton, 1579-1674". Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5034.
Texto completoResumen
By examining Renaissance criticism both literary and musical, framed in the context of the contemporaneous obsession with the works of Plato, Aristotle, and Horace, among others, this thesis identifies the parallels in poetic and musical practices of the time that coalesce to form a unified idea about the poet-as-singer, and his role in society. Edmund Spenser and John Milton, who both, in various ways, lived in periods of upheaval, identified themselves as the poet-singer, and comprehending their poetry in the context of this idea is essential to a fuller appreciation thereof. The first chapter addresses the role that the study of rhetoric and the power of oratory played in shaping attitudes about poetry, and how the importance of sound, of an innate musicality to poetry, was pivotal in the turn from quantitative to accentual-syllabic verse. In addition, the philosophical idea of music, inherited from antiquity, is explained in order elucidate the significance of “artifice” and “proportion”. With this as a backdrop, the chapters following examine first the work of Spenser, and then of Milton, demonstrating the central role that music played in the composition of their verse. Also significant, in the case of Milton, is the revolution undertaken by the Florentine Camerata around the turn of the seventeenth century, which culminated in the birth of opera. The sources employed by this group of scholars and artists are identical to those which shaped the idea of the poet-as-singer, and analysing their works in tandem yields new insights into those poems which are considered among the finest achievements in English literature.
33
Siegel, Eric Mitchell. "Reading the public comment : the keystone XL pipeline and future of environmental writing". Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4754.
Texto completoResumen
In the lead up to the 2011 official U.S. State Department decision on the proposed Keystone XL pipeline--running from the Alberta, Canada Tar Sands to the Gulf of Mexico--the Department held nine public meetings in Fall 2011 in the six U.S. states through which the proposed Keystone XL pipeline project would pass (the Department rejected the proposal; however, a new proposal is under consideration as of this writing). The transcripts of these public meetings are publicly accessible.
Understanding the pipeline as a project of trans-national trade and the global circulation of petrochemicals--including global emissions of carbon dioxide--this paper hones in on one region within one U.S. state: the Nebraskan Sandhills, a cattle ranching region of grass-stabilized sand dunes and inter-dunal valleys stretching 20,000-square miles across the north-central part of the state, under which rests a vast hydrological network, including the largest freshwater aquifer in the world - the Ogallala Aquifer.
This essay argues that we can read the Public Comments as a form of poetic expression, paying attention to the ways the State Department transcription process formatted the oral testimonies into an "official" and sanctioned public document -- instituting line-breaks and other syntactical procedures. Using the tools of literary-critical analysis, this paper makes a case that we can read the Comments as a form of documentary poetry - in the tradition of such American modernist poets as Charles Reznikoff, Muriel Rukeyser, and George Oppen - that explore ecological questions while experimenting with lyric structures. The Comments reveal competing environmental stakeholders' stances - on such topics as Prairie systems ecology and the neoliberal economics of private-public capital markets. In doing so, they subsequently express citizens' various understandings of themselves in relation to landscape, ecology, technology, and geo-politics.
34
Hayashi, Gabriel José Innocentini. "Tensões críticas e culturais em Rilke shake de Angélica Freitas". Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/4729.
Texto completoResumen
Made available in DSpace on 2016-06-02T20:11:04Z (GMT). No. of bitstreams: 1
6379.pdf: 1564143 bytes, checksum: 50d1f092db268dc4e4f1fd7fb1f8e033 (MD5)
Previous issue date: 2014-08-22Universidade Federal de Minas Gerais
The object of this dissertation is the book of poems Rilke shake, by Angelica Freitas, and the main question that guided our research was: What are the critical and fundamental cultural issues that inform Angelica Freitas s poetical production in Rilke shake? With this question in mind two objectives were followed: a) to accomplish the reading and analysis of the poems and b) to discuss how the tensions between the poetic tradition and the contemporary world are articulated in the poems. These two objectives were interrelated and linked to enable us to create an interpretative key of Rilke shake. Angelica Freitas establishes a dialogue with European, North American and Brazilian modernist traditions and her work shows a belonging to the post-modern world. Eight Poems from the book were discussed in the attempt at investigating which elements indicate such a dialogue. The cultural system in which Freitas s work takes part and constitutes one of the representative examples was then discussed. Our aim was to show that discussing Rilke shake meant also discussing how contemporary critical thinking looks at contemporary poetry, setting the dialectical movement from the particular to the general and back. The systemic approach offers the reader a larger view, allowing him to understand the importance and the value of Rilke shake inside the discussions concerning contemporary poetry.
Esta dissertação tem como objeto de pesquisa o livro de poemas Rilke shake, de Angélica Freitas. Na introdução, o problema de pesquisa foi enunciado nos seguintes termos: Quais as questões críticas e culturais fundamentais que informam a produção poética de Angélica Freitas em Rilke shake? Os objetivos foram interligados e organizados conjuntamente para a construção de uma chave interpretativa de Rilke shake: (a) realizar a leitura e a análise dos poemas; e (b) discutir de que forma se articulam as tensões nos poemas por meio do diálogo com a tradição poética e com o mundo contemporâneo. Discutiram-se oito poemas; investigou-se como se dá o diálogo de Angélica Freitas com a tradição modernista europeia, norte-americana e brasileira e como sua obra sinaliza um pertencimento ao mundo pós-moderno, verificando quais elementos indicam tal relação. Em seguida, a discussão derivou para o sistema cultural do qual a obra de Freitas participa e se constitui como um dos exemplos representativos. Dessa maneira, discutir a obra Rilke shake significou também discutir o modo como a crítica contemporânea pensa a poesia contemporânea, configurando o movimento dialético do particular para o geral e retornando ao particular. A abordagem sistêmica oferta ao leitor uma visada mais ampla, permitindo-lhe compreender a importância e o valor de Rilke shake no interior das discussões relativas às obras contemporâneas.
35
Wiechmann, Natalia Helena [UNESP]. "Tell all the truth but tell it slant: subtexto e subversão na poesia de Emily Dickinson". Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/145002.
Texto completoResumen
Submitted by NATALIA HELENA Wiechmann (nataliahw@hotmail.com) on 2016-11-29T12:53:35Z
No. of bitstreams: 1
merged_document tese final.pdf: 1278323 bytes, checksum: bd3a385e94c7d4d3def8e7a2f3dbf147 (MD5)Rejected by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo a orientação abaixo: O arquivo submetido está sem a ficha catalográfica. A versão submetida por você é considerada a versão final da dissertação/tese, portanto não poderá ocorrer qualquer alteração em seu conteúdo após a aprovação. Corrija esta informação e realize uma nova submissão com o arquivo correto. Agradecemos a compreensão. on 2016-12-02T13:40:12Z (GMT)
Submitted by NATALIA HELENA Wiechmann (nataliahw@hotmail.com) on 2016-12-03T18:39:34Z No. of bitstreams: 1 tese natalia h wiechman.pdf: 1389999 bytes, checksum: e49f465ba62565f942cdeef5d313bc04 (MD5)
Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-12-05T16:16:27Z (GMT) No. of bitstreams: 1 wiechmann_nh_dr_arafcl.pdf: 1389999 bytes, checksum: e49f465ba62565f942cdeef5d313bc04 (MD5)
Made available in DSpace on 2016-12-05T16:16:27Z (GMT). No. of bitstreams: 1 wiechmann_nh_dr_arafcl.pdf: 1389999 bytes, checksum: e49f465ba62565f942cdeef5d313bc04 (MD5) Previous issue date: 2016-10-31
O objetivo desta tese de doutorado consiste em analisar a poesia de Emily Dickinson (1830-1886) sob a perspectiva da crítica literária feminista estadunidense utilizando o conceito de subtexto literário enquanto recurso poético que revele na obra dickinsoniana diversas formas de subversão de normas sociais e literárias do patriarcado. Para isso, nosso corpus de análise se compõe de dezoito poemas e nosso trabalho está estruturado em quatro seções. A primeira discute algumas questões caras à crítica literária feminista estadunidense, como o conceito de autoria feminina e a tradição literária para, então, teorizar sobre o conceito de subtexto literário relacionando-o à ideia de subversão. Também nessa primeira seção analisamos do poema “Tell all the Truth but tell it slant – ”. Já na segunda parte de nossa tese apresentamos o contexto da produção literária estadunidense no século XIX e discutimos o fato de Emily Dickinson ter se recusado veementemente a publicar seus poemas. Os poemas analisados nessa seção são “Publication – is the Auction”, “Fame of Myself, to justify”, “Fame is the tint that Scholars leave”, “Fame is the one that does not stay” e “Fame is a fickle food”. Na sequência, examinamos o ideal de feminilidade do século XIX e as formas como Dickinson subverte esse ideal nos poemas “To own a Susan of my own”, “Her breast is fit for pearls”, “I gave myself to Him – ”, “She rose to His Requirement – dropt”, “Title divine – is mine!” e “I started Early – Took my Dog – ”. Por fim, analisamos poemas em que Dickinson empreende a subversão da imagem de Deus ao apontar as vulnerabilidades da fé e da condição humana e questionar preceitos religiosos: “I never lost as much but twice”, “It’s easy to invent a Life – ”, “A Shade upon the mind there passes”, “God is indeed a jealous God – ” e “God gave a Loaf to every Bird – ”. Como suporte teórico, recorremos a diversos autores que compõem a fortuna crítica de Emily Dickinson bem como a importantes nomes da crítica literária feminista estadunidense, além de outros autores cujos estudos também dialogam com nossa pesquisa. Alguns dos autores utilizados neste trabalho são Virginia Woolf, Sandra Gilbert e Susan Gubar, Elaine Showalter, Betsy Erkkila, Helen Vendler, Maria Rita Kehl, Susan Howe e Carlos Daghlian.
The aim of this dissertation is to analyze the poetry of Emily Dickinson (1830-1886) from the perspective of American feminist literary criticism drawing on the concept of literary subtext as a poetic resource that reveals in Dickinson’s work several ways of subverting the social and literary norms of patriarchy. To these ends, I analyze a corpus of eighteen poems, and the text is organized into four sections. The first section discusses some issues that are important to American feminist literary criticism, such as the concept of female authorship and literary tradition; it is then theorized about the concept of literary subtext and I relate it to the idea of subversion. Also, in this first section, I analyze the poem “Tell all the Truth but tell it slant – .” In the second part of this work, the context of American literary production in the nineteenth-century is presented and the fact that Emily Dickinson emphatically refused to have her poems published is considered. The poems analyzed in this section are “Publication – is the Auction”. “Fame of Myself, to justify”, “Fame is the tint that Scholars leave”, “Fame is the one that does not stay” and “Fame is a fickle food”. After the discussion of the poems, in the third section I examine the ideal of womanhood in the nineteenth century and the ways Dickinson subverts this ideal in the poems “To own a Susan of my own”, “Her breast is fit for pearls”, “I gave myself to Him – ”, “She rose to His Requirement – dropt”, “Title divine – is mine!” and “I started Early – Took my Dog – ”. Finally, in the closing section I study some poems in which Dickinson undertakes the subversion of God’s image, points out the vulnerabilities of faith and human condition, and questions religious precepts: “I never lost as much but twice”, “It’s easy to invent a Life – ”, “A Shade upon the mind there passes”, “God is indeed a jealous God – ” and “God gave a Loaf to every Bird – ”. To provide theoretical underpinning, several critics who have written on Dickinson’s work were consulted and significant names in American literary feminist criticism are also discussed, as well as other authors whose studies intersect with our research as well. Included among the writers, critics and researchers mentioned in our work are Virginia Woolf, Sandra Gilbert and Susan Gubar, Elaine Showalter, Betsy Erkkila, Helen Vendler, Maria Rita Kehl, Susan Howe, and Carlos Daghlian.
36
Mérot, Guillemette. "Le « canon » des poètes grecs et latins de l’Institution oratoire. : Discours critique, traditions doctrinales, contexte culturel". Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL084.pdf.
Texto completoResumen
La thèse porte sur le « canon » (au sens de « liste des auteurs considérés comme les meilleurs au sein d’un genre donné ») des poètes grecs et latins du chapitre 10.1 de l’Institution oratoire. Dans ce traité de rhétorique de l’époque flavienne, la liste-canon est issue d’une tradition littéraire et doctrinale qui sélectionne certains auteurs à inclure et les évalue les uns par rapport aux autres pour en faire des supports de lecture et des modèles d’éloquence. Le présent travail envisage la liste d’auteurs du chapitre 10.1 à la fois comme le point d’aboutissement d’un processus de constitution de « canons » effectué en diachronie et, en synchronie, comme une émanation du contexte culturel propre à la Rome flavienne. Il interroge sa dynamique de constitution en expliquant les motivations qui sous-tendent différentes opérations de « mise en liste » (sélection – ou exclusion – des auteurs, établissement entre eux de relations de hiérarchisation, et évaluation critique de leurs qualités). Il montre que les principales influences critiques qui s’exercent sur les différentes notices de la liste sont celles de Cicéron, d’Horace et de Denys d’Halicarnasse. Nous montrons notamment que cette dynamique de constitution de la liste est propre à chaque genre poétique. Notre travail entend s’inscrire ainsi au confluent de l’histoire de la rhétorique et de ses doctrines, de l’histoire de la philologie, de l’histoire littéraire et de l’histoire de la critique littéraire ancienneThis thesis deals with the "canon" (in the sense of "list of authors considered the best within a given genre") of Greek and Latin poets in chapter 10.1 of the Institutio oratoria. In this treatise on rhetoric from the Flavian period, the canon-list derives from a literary and doctrinal tradition that selects certain authors for inclusion and evaluates them in relation to each other as reading material and models of eloquence. The present work describes the list of authors in chapter 10.1 both as the culmination of a diachronous process of establishing "canons", and, in synchrony, as an emanation of the cultural context specific to Flavian Rome. It questions the dynamic of how the list was established by explaining the motivations behind different operations of "listing" (selection - or exclusion - of authors, establishment of hierarchical relations between them, and critical evaluation of their qualities). It shows that the main critical influences on the different entries in the list are those of Cicero, Horace and Denys of Halicarnassus. In particular, its show that the dynamics of how the list was established is specific to each poetic genre. Accordingly, the present work is located at the confluence of the history of rhetoric and its doctrines, the history of philology, literary history, and the history of ancient literary criticism
37
Neves, Ana Lúcia Maria de Souza. "Um atalho, uma clareira, coisa assim, no caminho : reflexões sobre os lugares de Henriqueta Lisboa no contexto da literatura brasileira". Universidade Federal da Paraíba, 2014. http://tede.biblioteca.ufpb.br:8080/handle/tede/6258.
Texto completoResumen
Made available in DSpace on 2015-05-14T12:39:51Z (GMT). No. of bitstreams: 1
arquivototal.pdf: 1708684 bytes, checksum: 9fce12aec0e7d3bec01068d7d6fc5700 (MD5)
Previous issue date: 2014-03-14Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This thesis investigates the dialogue of the writer Henriqueta Lisboa with male and female poets and essayists of her time. We have analyzed the writer s intellectual journey with reference to her position ahether as a poet, au educator and a literary critic, in order to perceive how she presented herself, and how others saw her, as well as the tactics she performed in her dialogue with the Other. We have selected the writings of Henriqueta (letters, poems, anthologies, essays) as our objects of study. In the course of this discussion, we have also included interviews and the poet s own statements, with the objective of broadening our understanding of Henriqueta as a poet, a theorist and a critic. We have sought to employ different theoretical perspectives in this work. In reference to power relations and their implications, interlinked to socio-historic questions about the place occupied by the writer and her work, we have utilized the theories of Michel Foucault (1987; 2004) and Michel de Certeau (1994). In the area of literary criticism we have based our work on Culler (1999), Pellegrini (1999), Perrone-Moisés (2005) Süssekind (2002) and Candido (1999). Regarding the issue of comprehending lyric poetry in tradition and modernity, the theories of Hegell (1993), Steiner (1988), Adorno (2003), Berardinelli( 2007), Hamburger (2007), Elliot (1972), Bosi (1994), (2000), and Paz (2009) have served as the basis. In the discussion on genre, the theories of Del Priore (2001), (2010), Duarte (2003), (2010), Gens (2003), Hollanda (1993), Monteiro (2008), Perrot (2013), Swain & Muniz (2005), and Scott (2011) have served as the foundation.
Esta tese investiga o diálogo da escritora Henriqueta Lisboa com poetas, poetisas e ensaístas do seu tempo. Analisamos o percurso intelectual da escritora no que diz respeito aos lugares por ela ocupados como poetisa-educadora-crítica literária, a fim de perceber de que forma a escritora se colocava e como os outros a colocavam, bem como as táticas mobilizadas pela autora no seu diálogo com o Outro. Elegemos como objeto de estudo: os escritos de Henriqueta (cartas, poemas, antologias e ensaios). Ao longo da discussão, lançamos mão também de entrevistas e depoimentos da poetisa com o objetivo de alagarmos a nossa compreensão de Henriqueta enquanto poetisa, teórica e crítica. Buscamos embasamento teórico em diferentes perspectivas: no que se refere às relações de poder e suas implicações imbricadas nas questões histórico-sociais acerca do lugar ocupado pela escritora e pela sua obra, lançamos mão de Michel Foucault (1987; 2004) e Michel de Certeau (1994); no âmbito da crítica literária nos apoiamos em Culler (1999), Pellegrini (1999), Perrone-Moisés (2005) Süssekind (2002), Candido (1999); sobre a problemática da compreensão da poesia lírica na tradição e modernidade, embasamo-nos em Hegell (1993), Steiner (1988), Adorno (2003), Berardinelli (2007), Hamburger (2007), Elliot (1972), Bosi (1994), (2000), Paz (2009); sobre gênero, alicerçamos a discussão em Del Priore (2001), (2010), Duarte (2003), (2010), Gens (2003), Hollanda (1993), Montero (2008), Perrot (2013), Swain & Muniz (2005), Scott (2011).
38
Oliveira, Edmon Neto de. "Escrita crítica, escrita criativa e leituras sobre (e com) o esporte: o corpo em movimento ressensualizando a razão". Universidade Federal de Juiz de Fora (UFJF), 2018. https://repositorio.ufjf.br/jspui/handle/ufjf/6908.
Texto completoResumen
Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-06-28T12:24:40Z
No. of bitstreams: 1
edmonnetodeoliveira.pdf: 2073943 bytes, checksum: f29b61fae671ca6291653b60b67b9d7b (MD5)Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-07-03T15:22:59Z (GMT) No. of bitstreams: 1 edmonnetodeoliveira.pdf: 2073943 bytes, checksum: f29b61fae671ca6291653b60b67b9d7b (MD5)
Made available in DSpace on 2018-07-03T15:22:59Z (GMT). No. of bitstreams: 1 edmonnetodeoliveira.pdf: 2073943 bytes, checksum: f29b61fae671ca6291653b60b67b9d7b (MD5) Previous issue date: 2018-05-14
CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Esta tese é desenvolvida a partir de diversas leituras analíticas de escritos produzidos por diferentes autores nos últimos três séculos. Textos que no interior dos quais discutiram-se propostas para o ofício da crítica da literatura e das artes que se faz e se experimenta no bojo da inventividade. Em primeiro lugar nutre-se uma concepção, já compartilhada com autores de referência, de que é mais fecunda a crítica que se apropria de seu objeto referencial e a ele se funde, criando uma estrutura nova, dotada do mesmo status da obra abordada e, assim, sendo compreendida no limiar da literatura. A proposta que se torna o problema do trabalho de pesquisa, contudo, é um exercício crítico-performático com um poema sobre o surfe, escrito pelo poeta brasileiro Alberto Pucheu, a partir do qual se busca uma ideia de paradigma para a relação entre a produção crítica e a produção literária hoje. Para tanto, o parâmetro estético da tese mira no tom livre e rigoroso do ensaio, bem como no apelo às experiências corporais de modalidades esportivas acessadas numa correspondência com a experiência artístico-literária. Isso pode ser compreendido na medida do pareamento dessa experiência com os múltiplos movimentos do corpo, na manutenção de uma saúde, assim como preconizam pensadores como Gilles Deleuze. Em seguida, ensaios de envergadura experimental e heterodoxa são produzidos à luz dos parâmetros estabelecidos a priori, na medida em que tecem uma linha de leitura aproximativa entre os fragmentos de Friedrich Schlegel, parte da obra autobiográfica de Henry Miller e os escritos e performances de Roberto Corrêa dos Santos, cada qual ilustrando uma atitude do corpo como sendo correspondente ao ofício de escritores, críticos e artistas que eles são. Cria-se, ao fim, um elo entre os recortes analisados de cada autor, que se solda numa parábola nietzschiana pensada junto com a imagem dos levantadores de peso olímpico. A tese pode, de alguma forma, contribuir para o debate inserido no campo expandido dos estudos literários contemporâneos.
The present thesis is developed from several analytical readings of writings from different authors in the last three centuries, inside which are discussed proposals for the metier of literary and arts review, made and experienced through inventiveness. Firstly, there is a fostered conception, already shared with authors of reference, which sees the criticism which appropriates its referential object and merges with it as more fruitful, creating a new structure endowed with the same status of the work approached and thus being understood at the threshold of the literature. The proposal that becomes the core of this research, however, is a critical and performative exercise with a poem about surfing, written by Brazilian poet Alberto Pucheu, from which a paradigm idea is sought for the connection between the critical and literary production today. Therefore, the aesthetic parameter of this thesis looks at the free and rigorous tone of the essay, as well as the appeal to the corporal experiences of sports modalities approached in correspondence with the artistic and literary experiences. This can be understood through the pairing of this experience with the multiple movements of the body, in the maintenance of health, as advocated by thinkers such as Gilles Deleuze. Subsequently, experimental and heterodox essays are produced in the light of the parameters established earlier, as they weave an approximate reading thread between the fragments of Friedrich Schlegel, part of Henry Miller's autobiographical work and the writings and performances of Roberto Corrêa dos Santos, each illustrating an attitude of the body as corresponding to the craft of writers, critics and artists they are. At the end, a link is created between the analyzed excerpts of each author, welded in a Nietzschean parable thought through the image of the Olympic weight lifters. This thesis may in some way contribute to the debate within the expanded field of contemporary literary studies.
39
Muniz, Liebert de Abreu. "Estudo de gÃnero em As GeÃrgicas, de VirgÃlio". Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=8206.
Texto completoResumen
FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgicoPara a cultura clÃssica antiga, o gÃnero Ãpico parecia apresentar diferentes formas e possibilidades. à provÃvel que, para os antigos, o metro tenha sido o principal recurso para classificar os gÃneros literÃrios. Assim, um poema vertido em versos hexamÃtricos poderia ser de imediato identificado como um Ãpico. HÃ, contudo, diferenÃas entre os Ãpicos homÃricos e os hesiÃdicos, o que parece reforÃar a hipÃtese de o gÃnero Ãpico poder apresentar manifestaÃÃes distintas. Enquanto os Ãpicos homÃricos sÃo longos quanto à extensÃo e cantam feitos bÃlicos, os hesÃodicos sÃo breves e tÃm a preocupaÃÃo de transmitir um conhecimento. As GeÃrgicas, de VirgÃlio, filiam-se à composiÃÃo de tipo hesÃodico. Ainda que uma influÃncia helenÃstica seja percebida, o poema virgiliano segue caracterÃsticas de estrutura, forma e conteÃdo do Ãpico hesÃodico (que tambÃm pode ser chamado de Ãpos didÃtico); no entanto, em diversos passos parece exceder essas caracterÃsticas, deixando a impressÃo de que tambÃm manteria vÃnculos com a Ãpica homÃrica (ou com o chamado Ãpos heroico). Essa discussÃo sugere que a leitura do poema como didÃtico nÃo parece ser suficiente para sua classificaÃÃo de gÃnero, sugere tambÃm que o poema se insere numa espÃcie de progressÃo poÃtica que perfaz duas formas de Ãpos, o didÃtico e o heroico.
For the ancient classical culture, the epic genre seemed to have different shapes and possibilities. It is likely that, for the ancients, the meter has been the main resource for classifying literary genres. Thus, a poem composed into hexameter lines could be readily identified as an epic. However, there are differences between the Homeric and the Hesiodic epics which seem to reinforce the assumption that the epic genre could have different manifestations. While the Homeric epics are long as for the extent and sing the martial feats,the Hesiodic epics are brief and have the intent of transferring knowledge. The Virgilâs Georgics affiliated to the composition of Hesiodic type. Although a Hellenistic influence is perceived, the Virgilian poem follows characteristics of structure, shape and contents of the Hesiodic epic (which can also be called didactic epos). However, in several passages, the poem seems to exceed these characteristics, leaving the impression that also could maintain bonds to the Homeric epic (or the so-called heroic epos). This discussion suggests that the reading of the poem as didactic does not seem to be sufficient for the classification of genre, it also suggests that the poem is part of a kind of poetic progression that to goes through two forms of epos, heroic and didactic.
40
Júnior, Luiz Evaristo Garcia. "O Sr. Machado de Assis, poeta indianista: nacionalismo literário do verso para a prosa". Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-18102011-142534/.
Texto completoResumen
Este trabalho objetiva uma introdução à análise e interpretação de poemas de Machado de Assis (1839-1908) presentes no livro Americanas (1875), com o resgate de sua escassa fortuna crítica; apresentação esquemática dos poemas; das suas datas de publicação anteriores à reunião em livro; das críticas recebidas por Machado em vida, especialmente por Sílvio Romero (1857-1914); e das modificações operadas por Machado como reação a tais críticas. Busca-se analisar como Machado redirecionou e recriou certas peças literárias ao longo do processo formativo da nossa literatura de cunho nacionalista, representando certa formação do caráter nacional. Para tanto, analisamos dois contos intitulados Mariana, publicados em tempos distintos e entremeio à publicação de um poema das Americanas intitulado Sabina, cuja temática liga-se aos dois contos. Através da leitura dos textos ficcionais, bem como dos textos de crítica do próprio poeta e prosador, buscamos fundamentar uma leitura que aponta para a importância de sua referida obra poética, considerada como engrenagem a mover peças de sua obra em prosa.This dissertation aims to introduce an introductory analyses and interpretation on some Machado de Assiss poems (1839-1908) published in the book Americanas (1875), bringing back to a new approach its rare reviewing essays; a systematic presentation for the poems, their launching datum, before they were gathered and published in a book reunion; some reviews received by Machado right after publishing them, especially those from Sílvio Romero (1857-1914); and some changes made by Machado as a direct reaction to those reviews. We try to analyze how Machado redirected and recreated some literary pieces of work over those years considered as Brazilian formative ones, when forms of nationalism, such as indianism, was the main topic for writers committed to represent their national identity. Therefore, we analyze two short stories entitled Mariana, published in different dates separated by the composition of a poem from Americanas named Sabina, of which its theme links to the other two short stories. Through the reading of those fictional texts, as well as including some reviews written by Machado, we search for a reading focused on the importance of Machados poetry as a gear wheel for moving forward his prose works.
41
McIntyre, James Stuart. "Written Into the landscape : Latin epic and the landmarks of literary reception". Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/543.
Texto completoResumen
Landscape in Roman literature is manifest with symbolic potential: in particular, Vergil and Ovid respond to ideologically loaded representations of abundance in nature that signal the dawn of the Augustan golden age. Vergil's Eclogues foreground a locus amoenus landscape which articulates both the hopes of the new age as well as the political upheaval that accompanied the new political regime; Ovid uses the same topography in order to suggest the arbitrary and capricious use of power within a deceptively idyllic landscape. Moreover, for Latin poets, depictions of landscape are themselves sites for poetic reflection as evidenced by the discussion of landscape ecphrases in Horace's Ars Poetica. My thesis focuses upon the depiction and refiguration of the locus amoenus landscape in the post-Augustan epics of the first century AD: Lucan's Bellum Civile, Valerius Flaccus' Argonautica, Statius' Thebaid and Silius Italicus' Punica. Landscape in these poems retains the moral, political and metapoetic force evident in the Augustan archetypes. However, I suggest that Lucan's Neronian Bellum Civile fundamentally refigures the landscapes of Latin epic poetry, inscribing the locus amoenus with the nefas of civil war in such a manner that it redefines the perception of landscape in the succeeding Flavian poets. Lucan perverts the landscape, making the locus horridus, a landscape of horror, fear and disgust, the predominant landscape of Latin epic; consequently, the poems of Valerius, Statius and Silius engage with Lucan's refiguration of landscape as a means of expressing the horror of civil war. In the first part of my thesis I examine archetypal landscapes, including those of the Augustan poets and Lucan's Bellum Civile. Taking an approach which engages with literary reception theory and the concept of the â horizon of expectationâ as a framework within which literary topographies can be understood as articulating a response to the thematics of civil war, in the second part of my thesis I demonstrate the manner in which landscapes represent a coherent and paradigmatic response to Lucan's imposition of his civil war narrative within the literary landscape of Roman literature.
42
Santos, Max Jefferson dos. "A poética contemporânea de Caetano Veloso por meio da literatura de quatro canções". Universidade Federal de Alagoas, 2008. http://www.repositorio.ufal.br/handle/riufal/1478.
Texto completoResumen
Poetic-musical analysis by Caetano Veloso on "London, London" (1970), "Goodbye, my Santo Amaro" (1971), "Sampa" (1978) and "my River" (2000) as the translation behavior of the contemporary artist on the presence the city imagery, whose productive force takes the lyrical second subject a negative vision but productive of being poetic, becoming, in addition to spectator of reality, the vehicle and the language in which the text is organized. So the city isn't exclusively theme, but, above all, discursive role plays, guides the vision and produces a real image. Therefore, Caetano will be observed as a musician-contemporary poet which absorbed the proposals of the modern tradition, according to the theory of Octavio Paz, and the categories of negativity, proposed by Hugo Friedrich, stabilizing a more conscious space where these categories, already out of context in relation to the first modernity, update your images and poetic sense, within the contemporary, where Danto the sorts as a style of using styles.Análise da poética-musical de Caetano Veloso em “London, London” (1970), “Adeus, meu Santo Amaro” (1971), “Sampa” (1978) e “Meu Rio” (2000) como tradução do comportamento do artista contemporâneo diante da presença imagética da cidade, cuja força produtiva leva o sujeito lírico, segundo uma visão negativista mas producente do ser poético, a tornar-se, além de espectador da realidade, o veículo e a linguagem pela qual se organiza o texto. Por isso, a cidade não é exclusivamente tema, mas, antes de tudo, desempenha papel discursivo, orienta a visão e produz uma imagem do real. Portanto, Caetano será observado como um músico-poeta contemporâneo que absorveu as propostas da tradição do moderno, segundo a teoria de Octavio Paz, e as categorias da negatividade, propostas por Hugo Friedrich, estabilizando-se num espaço mais consciente onde essas categorias, já descontextualizadas em relação à primeira modernidade, atualizam suas imagens e sentido poéticos, dentro da contemporaneidade, onde Danto a classificará como um estilo de usar estilos.
43
NUNES, OZEAS DA SILVA. "INSPIRAÇÃO NORDESTINA: UMA LEITURA TEOLÓGICA NA POÉTICA DE PATATIVA DO ASSARÉ NA POENTE DO DIÁLOGO ENTRE TEOLOGIA E LITERATURA". Universidade Metodista de Sao Paulo, 2008. http://tede.metodista.br/jspui/handle/tede/1577.
Texto completoResumen
Submitted by Noeme Timbo (noeme.timbo@metodista.br) on 2016-10-10T18:51:46Z
No. of bitstreams: 1
Ozeas Nunes.pdf: 746043 bytes, checksum: 3d9b43b429e84668a07557a1ac62fb5c (MD5)Made available in DSpace on 2016-10-10T18:51:46Z (GMT). No. of bitstreams: 1 Ozeas Nunes.pdf: 746043 bytes, checksum: 3d9b43b429e84668a07557a1ac62fb5c (MD5) Previous issue date: 2008-03-03
Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
This thesis analyses the poetry of a famous writer from Ceara, Antonio Gonçalves da Silva, best known as Patativa do Assaré. This research is based on a literary criticism, specifically of those texts elaborated by Antonio Cândido that deal with issues related to history and society, and on a discussion about the establishment of a dialogue between theology and literature. The perspective of Eli Brandão points out the need of rewriting a literary text taking as reference sacred texts, will be useful for the achievement of this very purpose. With these two approaches, Cândido’s and Brandão’s, this investigation aims to find out its plausibility through out the dialogue between theology and literature. In other words, in Assare’s writings it is possible to perceive existential questions regarding the everyday problems in the lives of those who live in the sertão. The aspects highlighted in his poems lead to several theological questions and themes revealing, not only the hard reality of the northeastern Brazilian people, but also their faith, hopes and beliefs. The God presented by Pataiva do Assaré is not a God that repays you for the bad things you have done to others, but a God that sees the sufferings, exclusions and illnesses of those who are abandoned in the sertão. Therefore, we believe that the proposal to study Assare’s poetry from a theological point of view could be a good way to bring out those “northeastern theological themes” that came out as a result of the contact between the poet and Catholicism; topics that according to Assare’s thought bring out new meanings and interpretations.
Este trabalho se propõe estudar a obra do poeta cearense Antonio Gonçalves da Silva, conhecido como Patativa do Assaré. O estudo de tal obra encontra-se alicerçado na crítica literária, sobretudo no conceito de textos histórica e socialmente ancorados elaborado por Antonio Cândido, e na discussão do diálogo entre teologia e literatura, a partir da idéia de reescritura de um texto literário a partir de textos sagrados, de Eli Brandão. Dessa forma objetiva-se localizar, no contexto brasileiro, a partir do diálogo entre teologia e literatura, a plausibilidade de nossa pesquisa, ou seja: ao longo da produção literária de Patativa do Assaré, encontramos questões existenciais provocadoras de diversas aflições percebidas no cotidiano do povo sertanejo, as quais nos remetem a questionamentos e temas de cunho teológico, notados através da obra de um poeta, reveladora não somente da dura realidade do nordestino, mas também da fé e esperança deste em um Deus, visto ao longo da poética de Patativa do Assaré não como fonte de castigo, mas percebido como um Deus sensível aos sofrimentos, mazelas e marginalização dos nordestinos desamparados. Assim, acreditamos na proposta de estudar a poética patativana sob a perspectiva de “um olhar teológico”, a partir do qual se percebe “temas teológicos nordestinos”, elaborados a partir do contato do poeta com o catolicismo do sertão, mas que, na percepção e compreensão de mundo de Patativa assumem novos significados e novas interpretações.
44
Damasceno, Rodrigo Lôbo. "Situação do autor na poesia moderna: Fernando Pessoa e Ezra Pound". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-29062015-151506/.
Texto completoResumen
Esta dissertação propõe um estudo comparativo das obras críticas e poéticas de Fernando Pessoa e Ezra Pound, partindo da hipótese central de que a leitura conjunta dos seus textos proporciona um ângulo privilegiado de análise, tanto de seus procedimentos específicos quanto de alguns dos aspectos axiais da poesia moderna e das tensões que os constituem. Focaliza, para tanto, as estratégias formais que os poetas utilizam na busca por uma espécie de despersonalização poética (seja na escrita de poesia, seja em sua leitura e em sua crítica): os fenômenos da heteronímia e da persona. Como eixo organizador dessa leitura, encontra-se a relação dos dois autores com a tradição literária entendida como arquivo de escritos que caberia ao poeta contemporâneo (moderno e antimoderno) conservar e renovar, o que os faz assumir uma postura contrária à das manifestações mais severas das vanguardas, sobretudo do Futurismo italiano, com as quais polemizam. A tradição, supostamente morta pelos decretos vanguardistas, deve então reviver e retornar nas obras de Pessoa e de Pound que encontram na crítica, na experiência da voz (da multiplicidade de vozes que funda e conforma a poesia) e na tradução os meios próprios para esse retorno. Os ideais de uma despersonalização poética, cristalizados nos expedientes da persona e da heteronímia (mas postas em movimento também em suas traduções e páginas críticas), são lidos aqui, portanto, como passos em busca da conservação e da renovação das vozes que vêm da tradição. Situados num período de extremismos estéticos (nos quais eles também incorrem constantemente), Pessoa e Pound são lidos nessa dissertação como marcos em que a modernidade poética se realiza e ao mesmo tempo se trai, balizas em que o novo e o antigo têm suas definições borradas e em que a modernidade se define por meio de suas próprias indefinições e contradições.This dissertation proposes a comparative study of critical and poetic works by Fernando Pessoa and Ezra Pound, based on the central hypothesis that the joined reading of their texts enables a privileged angle of analysis with respect to their specific procedures as well as to the axial aspect of modern poetry and its constituting tensions. As such, the present study focuses on the formal strategies utilized by the poets in their quest for poetic depersonalization (whether in their writing of poetry, or in their reading and critique): the phenomena of heteronymia and of persona. The organizing axis of this reading is framed within the relation of both authors to literary tradition understood as an archive of writings that is bestowed upon the contemporary (modern and anti-modern) poet for conservation and renovation, forcing them to assume a negative position towards the more severe vanguard manifestations, namely towards Italian Futurism. Tradition, supposedly dead at the hands of vanguard decrees, must therefore relive and return in the works of Pessoa and Pound who find in criticism, in the experience of the voice (of the multiplicity of voices that founds and conforms poetry) and in translation the means by which it can return. The ideals of a poetic depersonalization, crystallized in the expedients of the persona and heteronymia (but set in movement also through translation and critical pages) are hence understood as crucial steps in the search for conservation and renovation of the voices that come from tradition. Situated in a period of aesthetic extremisms (from which they are never far themselves), Pessoa and Pound are read as milestones in which poetic modernity is effected at the same time as it is betrayed, where the new and the old have their definitions blurred, bringing about a definition of modernity that is composed by its very own indefiniteness and contradictions.
45
Langdell, Sebastian James. "Religious reform, transnational poetics, and literary tradition in the work of Thomas Hoccleve". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a2e8eb46-5d08-405d-baa9-24e0400a47d8.
Texto completoResumen
This study considers Thomas Hoccleve’s role, throughout his works, as a “religious” writer: as an individual who engages seriously with the dynamics of heresy and ecclesiastical reform, who contributes to traditions of vernacular devotional writing, and who raises the question of how Christianity manifests on personal as well as political levels – and in environments that are at once London-based, national, and international. The chapters focus, respectively, on the role of reading and moralization in the Series; the language of “vice and virtue” in the Epistle of Cupid; the moral version of Chaucer introduced in the Regiment of Princes; the construction of the Hoccleve persona in the Regiment; and the representation of the Eucharist throughout Hoccleve’s works. One main focus of the study is Hoccleve’s mediating influence in presenting a moral version of Chaucer in his Regiment. This study argues that Hoccleve’s Chaucer is not a pre-established artifact, but rather a Hocclevian invention, and it indicates the transnational literary, political, and religious contexts that align in Hoccleve’s presentation of his poetic predecessor. Rather than posit the Hoccleve-Chaucer relationship as one of Oedipal anxiety, as other critics have done, this study indicates the way in which Hoccleve’s Chaucer evolves in response to poetic anxiety not towards Chaucer himself, but rather towards an increasingly restrictive intellectual and ecclesiastical climate. This thesis contributes to the recently revitalized critical dialogue surrounding the role and function of fifteenth-century English literature, and the effect on poetry of heresy, the church’s response to heresy, and ecclesiastical reform both in England and in Europe. It also advances critical narratives regarding Hoccleve’s response to contemporary French poetry; the role of confession, sacramental discourse, and devotional images in Hoccleve’s work; and Hoccleve’s impact on literary tradition.
46
Nogueira, Fernanda Ferreira Marcondes. "Políticas estéticas e ocupações poéticas: uma genealogia (im)possível a partir do concretismo brasileiro". Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-06052010-134321/.
Texto completoResumen
Que potencialidade ainda mantém a poesia concreta? O que pode permitir que essa poética continue intervindo no presente? Restabelecendo o vínculo com as tendências construtivas que surgem no Brasil da metade do século XX e tomando a poesia concreta como referência multidimensional, evidenciamos alguns conflitos inscritos nas políticas estéticas e no seu projeto político para propor outra genealogia que não se baseia somente na sua análise formal, mas que busca entender como essa estética radical penetra no social, na rua, no cotidiano, nos meios de comunicação e reverbera nas redes artísticas alternativas. Indicamos também algumas discussões que tentaram constituir e delimitar a poesia concreta, contrapostas às suas derivas, que subvertem definições e enquadres temporais designados pela historiografia literária. Assim, a primeira parte apresenta um panorama macropolítico no qual esta e outras produções se inscrevem para, nos capítulos seguintes, apontar formas de resistência micropolíticas.What potentiality still remains concrete poetry? What can allow it to continue to intervene in the present? By re-establishing their link with constructive art tendencies emerged in Brazil since 1950s, and taking concrete poetry as a multidimensional experience, we expose some of the conflicts inscribed in the politics of aesthetics of concrete poetry political project to put forward a different genealogy which is not based on its formal analysis only. Rather, how those radical aesthetics pervades the social structure, the public sphere, the common and the mass communication medium, echoing through the alternative artistic networks. We also point out some discussions that have been attempting to constitute or demarcate concrete poetry in an opposite way of its motives that subvert definitions and bring down the temporal frame of literary historiography. In this way, the first section proposes a macro-political panorama of this poetry production, in the following sections, some different ways of micropolitical resistance are emphasized.
47
Tilbury, Simon John. "The dancer walking the ruins : Laura Riding and dialectical thought". Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/290212.
Texto completoResumen
This thesis explores the origin and expression of dialectical thought in the life and writings of the American modernist Laura Riding. Within a biographical framework, I trace the steps by which it became the defining characteristic of her poetic, literary and critical works. A few have noted Riding's dialectical manner; none have appreciated its centrality. This is the first detailed study. An introductory outline of the origin and definition of dialectic provides a working theoretical context for the study that follows. Riding was born Laura Reichenthal in New York City, 1901. Her father, a Jewish émigré, was a committed activist for the left and included Riding in his campaigning at a very young age, immersing and educating her in the political and philosophical radicalism thriving in New York's Jewish communities of the era. There she internalised the revolutionary dialectics that would inform her aesthetic practice. Breaking with her father in her teens, she abandoned politics for literature. As Laura Riding - the name she adopted in 1927 and with which her literary writings continue to be associated - she moved to London and began collaborating with Robert Graves, relocating with him to Majorca in 1929. Producing poetry, fiction, criticism and experimental philosophico-literary works, she became a formidable presence within European literary modernism. Many aspects of her work are dialectical. Paradox, inversion and negation are perennial textual features. Key events in her life were also experienced as dialectical. Her insistence upon 'death' as an inverted sigil of unmediated vitality points toward a negatively dialectical mode of thought. In this regard, the theories of Theodor W. Adorno prove invaluable. Adorno provides a unique lexicon of terms - 'constitutive subjectivity', 'administered world', 'true object' - with which to draw out Riding's dialectical subtleties. Reading them alongside Adorno's negatively dialectical theory of modernist art and aesthetic praxis, certain aspects of Riding's writings are illuminated and, in some respects, they correspond. After a suicide attempt in 1929, Riding's perspective changed. Before it, her point of view was positioned within institutionally determined 'reality', and 'truth' beyond it was adumbrated by dialectical means. Afterwards, she believed herself transfigured: the embodiment of immediate, consciously apprehended noumenal objectivity. But the written word remained recalcitrant toward her attempts to inscribe this newfound positive 'truth'. This frustration contributed to her abandonment of poetry at the end of the 1930s. Re-emerging in the 1960s as Laura (Riding) Jackson, her disavowal of poetry and exploration of 'truth-potential' in language utilised dialectical approaches derived from her earlier experiences and writings.
48
Kchouk, Ayachi Khedija. "L'héritage du soufisme dans la poétique arabe contemporaine". Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAC018/document.
Texto completoResumen
Dans son premier chapitre, cette étude présente la poétique chez les penseurs, poètes et critiques confondus, dans le patrimoine arabe traditionnel jusqu’au XIVe siècle en en faisant la synthèse. Son deuxième chapitre expose le soufisme dans ses grandes lignes et dans ce qui le distingue en tant qu’approche existentielle de l’ensemble de la vision islamique. Ces mêmes caractéristiques se reflètent dans le troisième chapitre à travers la production poétique de trois de ses plus célèbres représentants à savoir Râbia Al- Adawiyya (m. 725), Umar Ibn Al-Fâridh (m.1235) et Mohyî Al-Dîn Ibn Arabî (m.1240). L’analyse de leurs œuvres respectives démontre que Râbia dans sa quête de purification, Ibn Al-Fâridh dans sa recherche à propager sa foi soufie à travers sa Tâiyya Al-Kubrâ (La Grande Tâiyya), et Ibn Arabî avec son dessein de réfuter tout écrit stable et rigide dans son recueil Turjumân Al-Achwâq (l’Interprète des désirs), ont eu trois approches différentes de la création poétique. Râbia l’utilise comme catharsis. Ibn Al-Fâridh, en s’adressant essentiellement à son lecteur, essaye de l’imprégner de sa propre foi soufie, alors qu’Ibn Arabî cherche à instaurer « un Texte » idéal. Aussi conclut‑on que ces poètes soufis ont eu trois approches différentes de la création poétique. L’analyse de leurs œuvres respectives démontre qu’« émetteur », « récepteur » et « message » sont les trois pôles d’intérêts de ces poètes. Dans le quatrième chapitre de cette étude, trois œuvres poétiques de trois poètes contemporains sont analysées afin de déceler les filigranes soufis de leurs poèmes. Il s’agit de « Al-Tûfân Al-Aswad » (Le déluge noir) de Muhammad Miftâh Al-Faytûrî (1936-…), d’Al-Kibrît wa Al-Asâbi (l’Allumette et les doigts) de Nizâr Qabbânî (1923-1998), et de Qaṣîdat Al-Takwîn (le poème de la genèse) d’Adonis (1930-…). Ainsi cette analyse prouve-t-elle l’influence du soufisme dans la pratique de la création poétique arabe. Quant au cinquième chapitre, il démontre cet héritage soufi dans les théories poétiques arabes contemporaines et son influence dans l’instauration de trois approches poétiques différentes constituant ce que l’on appellerait « l’école purificatrice », « l’école imprégnatrice » et « l’école de la réfutation» ; ces théories ne tenant nullement compte du corpus littéraire exposé dans le premier chapitre. Outre la traduction de Claudine Chonez de « la Grande Tâiyya », les poèmes analysés sont cités en annexe à la fin de cette étude avec une traduction personnelle, qui bien qu’elle ne prétende nullement refléter la profondeur et la beauté des poèmes arabes, ne désespère pas pour autant de la laisser entrevoirThe first chapter in this study presents the poetic thinkers, poets and critics alike, in the traditional Arabic heritage until the fourteenth century by making a synthesis. The second chapter presents Sufism in outline and in what distinguishes it as an existential approach throughout the Islamic view. These same characteristics are reflected in the third chapter through the poetic production of three of its most famous representatives namely Rabia Al-Adawiyya (d. 725), Umar Ibn Al-Fâridh (d. 1235) and Mohyî Al -Dîn Ibn Arabi (d. 1240). The analysis shows that in their respective works, they also had three different approaches to poetic creation. Rabia with her quest for purification uses it as a catharsis, Ibn Al-Fâridh, with his quest to spread his Sufi faith through his Al-Tâiyya Kubrâ (The Great Tâiyya),tries to impregnate his own Sufi liver faith, and Ibn Arabi, with his plan to refute any writing stable and rigid trough his collection of poems Turjumân Al-Achwaq (the interpreter of desires), seeks to establish an ideal "Text ".Thus we can conclude that these Sufi poets had three different approaches to poetic creation. The analysis of their respective writings demonstrates that "issuer", "receiver" and "message" are the three core interests of these three Sufi poets. In the fourth chapter of this study, three poetic works of three contemporary poets are analyzed to detect the Sufi watermarks of these poems. It is Al-Tufan Al-Aswad (The Black Flood) of Muhammad Miftâh Al-Faytûrî (1936 - ...), Al-Kibrît wa Al-Asâbi (The Match and the Fingers) of Nizar Qabbâni (1923-1998), and Qasîdat Al-Takwîn The Poem of the Genesis of Adonis (1930 - ...). Their analysis proves the influence of Sufism in the practice of the creation of Arabic poetry. The fifth chapter demonstrates this Sufi legacy in poetic theories in contemporary Arab thought and its influence in the establishment of three different poetic approaches constituting the so-called " the Purifying School," " the Impregnator School" and "the Refutation School", these theories take no account of the literary corpus described in the first chapter. Besides the translation of Claudine Chonez of "Great Tâiyya," the poems are cited in Appendix at the end of the study with a personal translation, which, although it does not claim to reflect in any way the depth and beauty of Arabic poems, she does not despair for the many suggest
49
Elzière, Sophie. "Nuées d'oiseaux et crocus évangiles. Ted Hughes et le poème de l'être complet". Thesis, Sorbonne université, 2021. https://tel.archives-ouvertes.fr/tel-03789589.
Texto completoResumen
Cette thèse a pour objet l’œuvre du poète britannique Ted Hughes et se concentre sur la question de l’accomplissement de l’être et du langage. Le poète décrit le parcours de l’homme du « logos », héritier de Socrate et de Descartes, criminel châtié pour avoir voulu, par la seule force de son esprit, se faire maître et possesseur de son corps et de la nature tout entière. La mythologie personnelle que Ted Hughes développe dans son œuvre poétique et critique lui permet d’y tracer l’infini cheminement du sujet humain qui, reconnaissant ses torts envers la Déesse de l'Être Complet, sa Terre-Mère et sa Fiancée Sacrée, à la fois Reine des Enfers et Fleur du Paradis, renonce à tout et accepte de s’offrir en un don absolu. C’est par cette métamorphose qu’a lieu l’ultime et inespéré « miracle poétique » qui révèle le noyau vital, divin et insondable de l’être poétique. Il faut, selon le poète, parler comme les animaux et les oiseaux, qui, bien au-delà des mots des hommes, parviennent à faire valoir la vérité de l’existence dans ce qu’elle a de plus « étrange, beau, pathétique et terrible ». Il faut comprendre la musique silencieuse du vent, de l’herbe et des pierres : ils portent la vérité ineffable d’une Déesse sans nom, « Annonciation de glaise, d’eau et de soleil » ou « crocus évangile » qui impose à l’homme de tout risquer et de s’offrir sans réserve. C’est le don du funambule errant qui danse sur un fil infini comme s’il était déjà mort : il connaît la douceur de l’agonie et la douleur de l’extase, il en a fait sa plaie noire et son joyau arc-en-ciel, magie de poésie qui fonde le cœur insondable de l’être et du langageThis thesis explores Ted Hughes’s poetic work and focuses on the question of the completion of being and of language. The poet sheds light on the man of ‘logos’, heir to Socrates and Descartes, criminal because he wanted, by the sole force of his rational mind, to own and control the outer world of nature and to be the master of the inner world of his individuality, body and soul alike. The myths and stories that fill Ted Hughes’s poetic and critical work trace the trajectory of a human being who has acknowledged the harm he has done and asks for forgiveness to the Goddess of Complete Being, both his Mother-Earth and Sacred Bride, both Queen of Hell and Flower of Paradise. As he surrenders to her unconditionally, an ultimate and ‘last-ditch miracle’ occurs, one that reveals his true and divine ‘self at the source’, his ‘vital nucleus’ and ‘the most inaccessible thing of all’. According to the poet, one should speak like the animals and the birds that, far beyond human words, manage to ‘express this being pure and without effort’ and a truth ‘at the core of us – strange, beautiful, pathetic, terrible’. One should decipher the inaudible music of the wind, the grass and the rocks, because it bears the truth of a nameless Goddess, the ‘Annunciation of clay, water and sunlight’, or the ‘crocus evangels’, which tell man that he should take all the risks throughout his journey. The human being that the poet describes has a black wound on his body and a rainbow jewel in his soul; he has been through the softness of agony and the sorrows of ecstasy – and thus he feels the inmost core of being and of language, and the secret of the magic spell cast by poetry
50
Antunes, Angie Miranda. "A poesia de W.H. Auden no arco do tempo entre a modernidade e a pós-modernidade". Universidade Federal de Juiz de Fora (UFJF), 2014. https://repositorio.ufjf.br/jspui/handle/ufjf/4634.
Texto completoResumen
Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-22T17:24:37Z
No. of bitstreams: 1
angiemirandaantunes.pdf: 1309439 bytes, checksum: bcce9e5e64deec08ea5b879150fe574b (MD5)Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-22T17:41:11Z (GMT) No. of bitstreams: 1 angiemirandaantunes.pdf: 1309439 bytes, checksum: bcce9e5e64deec08ea5b879150fe574b (MD5)
Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-22T17:41:33Z (GMT) No. of bitstreams: 1 angiemirandaantunes.pdf: 1309439 bytes, checksum: bcce9e5e64deec08ea5b879150fe574b (MD5)
Made available in DSpace on 2017-05-22T17:41:33Z (GMT). No. of bitstreams: 1 angiemirandaantunes.pdf: 1309439 bytes, checksum: bcce9e5e64deec08ea5b879150fe574b (MD5) Previous issue date: 2014-10-03
Este trabalho perscruta tanto a obra poética quanto a produção crítico-teórica W. H. Auden (1907-1973) com o intuito de desvelar as nuances da passagem da modernidade para a pósmodernidade no âmbito literário. A trajetória deste poeta anglo-americano ao longo de seus 45 anos (1928-1973) de produção nos permite vislumbrar e acompanhar as alterações da sua lírica, sempre atrelada às questões sociais e existenciais de seu tempo. A fim de mapear as marcas do trânsito de Auden entre a modernidade e a pós-modernidade, sem descurar da reflexão acerca das mesmas, fez-se necessário cotejar as teorizações do poeta com outros autores para tratarmos de numerosas questões, dentre as quais, destacamos linguagem, poesia, sujeito, sociedade, história, crítica literária. Tais procedimentos nos permitiram a seleção de um conjunto de poemas representativos das mudanças verificadas nos modos de Auden conceber a poesia e as suas funções sociais e existenciais, poemas estes analisados pari passu com nossas considerações teóricas.
This paper investigates both the poetic work and the critical-theoretical production of W. H. Auden (1907-1973) searching to unveil the nuances of the passage from modernity to postmodernity in the literary context. The way made by this Anglo-American poet throughout his 45 years (1928-1973) of production allows us to perceive and track changes in his lyric that is always linked to social and existential issues of his time. In order to follow Auden’s path between modernity and postmodernity, without neglecting the reflection about them, it was necessary to put side by side the theoric thoughts of the poet with those from other writers to talk about many issues, among which we highlight language, poetry, subject, society, history, literary criticism. These procedures allowed us to select a set of representative poems of real change in the ways that Auden conceives poetry, and its social and existential functions, these poems were analyzed pari passu with our theoretical considerations.