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Kayes, Gillyanne. « How does genre shape the vocal behaviour of female singers ? : empirical studies of professional female singing in western lyric and contemporary commercial music genres ». Thesis, UCL Institute of Education (IOE), 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.690905.
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vom, Schemm A. (Axel). « Dichter am Ball:untersuchungen zur Poetik des Sports am Beispiel deutschsprachiger „Fußball-Literatur” ». Doctoral thesis, University of Oulu, 2006. http://urn.fi/urn:isbn:9514283023.
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Abstract In view of numerous texts from completely different genres the study shows to what extent and degree of differentiation the topic soccer is covered in German-language literature and allows general conclusions on a poetics of sport. Here solely German-language literary sources are considered. The work is divided into a theoretical and a text-related part. In the former section the approaches to the topic – on one hand via German studies and on the other hand via interdisciplinary sport science – is made clear by means of basic considerations on the questions “what is literature?” and “what is sport”. In addition, a revisable basis for the subsequent studies is provided. The text-related part – in turn subdivided according to the three main genres lyric poetry, epic poetry and drama – shows how exactly soccer appears as literary subject. Formal differences induced by the form of presentation within a genre (sonnet vs. visual poetry) or across genres (detective story vs. modern drama) take effect as well as context-related variations of the subject (soccer as symbolic carrier of meaning vs. soccer as vehicle for transporting ethical values). A concluding chapter each on the realization of the sport models introduced in the theoretical part in literary practice follow the individual genre areas. The various aspects that can be attributed to a poetics of sport conclude the study in a summarizing part. Not least here the comprehensiveness of the findings can be seenAbstract Die Untersuchung zeigt mit Blick auf zahlreiche Texte ganz unterschiedlicher Gattungen, in welchem Umfang und wie differenziert das Thema Fußball in der deutschen Literatur behandelt wird und lässt damit allgemeine Rückschlüsse auf eine Poetik des Sports zu. Betrachtet werden hier ausschließlich deutschsprachige, literarische Quellen. Die Arbeit gliedert sich in einen theoretischen und einen textbezogenen Teil. Im erstgenannten Abschnitt wird durch grundsätzliche Überlegungen zu den Fragen „Was ist Literatur? ” und „Was ist Sport? ” der einerseits germanistische, andererseits interdisziplinäre sportwissenschaftliche Zugang zum Thema verdeutlicht. Zudem ist hier eine überprüfbare Basis für die anschließenden Untersuchungen geschaffen. Der textbezogene Teil – wiederum untergliedert nach den drei Hauptgattungen Lyrik, Epik und Drama – zeigt, wie Fußball genau als literarisches Motiv erscheint. Formale Unterschiede bedingt durch die Darstellungsform innerhalb einer Gattung (Sonett vs. Visuelle Poesie) oder grenzüberschreitend (Kriminalroman vs. Modernes Drama) kommenden dabei ebenso zum Tragen wie inhaltliche Variationen des Motivs (Fußball als symbolischer Bedeutungsträger vs. Fußball als Vehikel zur Vermittlung ethischer Werte). Je ein resümierendes Kapitel über die Umsetzung der im theoretischen Teil eingeführten Sportmodelle in der literarischen Praxis schließt sich an die einzelnen Gattungsbereiche an. Die verschiedenen Aspekte, die sich einer Poetik des Sports zuschreiben lassen, schließen die Studie in einem zusammenfassenden Teil ab. Nicht zuletzt hier zeigt sich die Reichhaltigkeit der Untersuchungsergebnisse
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Santos, Marcos Lemos Ferreira dos. « Orfeu emparedado : Hilda Hilst e a perversão dos gêneros ». Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-17112011-112606/.
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A partir de uma perspectiva que valoriza a teoria dos gêneros literários, o presente trabalho busca verificar como se processam, na obra da escritora brasileira Hilda Hilst, as relações entre lírica, teatro e prosa narrativa. Seu principal parâmetro teórico é o trabalho de Peter Szondi: Teoria do drama moderno, livro em que o crítico alemão aborda a mistura de gêneros literários como tentativas de superar, na criação estética, problemas objetivos relacionados à situação histórica de determinada forma literária. No caso de Hilda Hilst, serão analisadas como as incursões da autora no teatro e na prosa narrativa funcionam como resposta problemática à recepção de uma lírica inicialmente balizada pelos ideais poéticos da Geração de 45. Demonstro, assim, como as tentativas da autora em outras modalidades discursivas produzirão alterações formais significativas em sua obra, a partir da contaminação estrutural de um gênero para o outro.Taking into consideration a perspective that privileges the Theory of literary forms, this study aims at verifying the way it works, in the production of the Brazilian writer Hilda Hilst, the relations among lyrics, theater and narrative prose. The theoretical parameter is the works Theory of Modern Drama, by Peter Szondi, in which the German critic deals with the question of mixture of literary forms as an alternative to overcome objective questions related to the historical situation of a certain literary form. Concerning Hilda Hilst, we intend to analyse how the incursions of the author in theater and narrative prose appear as a problematic response to the reception of a lyrics initially guided by the poetic ideals of the Generation of 45. As we intend to demonstrate, the attempts on the part of the author in other discursive types will produce significant formal modifications in her work, by means of the contamination of structures of one gender to another.
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Park, Arum. « Truth and Genre in Pindar ». Cambridge University Press, 2013. http://hdl.handle.net/10150/622193.
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By convention epinician poetry claims to be both obligatory and truthful, yet in the intersection of obligation and truth lies a seeming paradox: the poet presents his poetry as commissioned by a patron but also claims to be unbiased enough to convey the truth. In Slater's interpretation Pindar reconciles this paradox by casting his relationship to the patron as one of guest-friendship: when he declares himself a guest-friend of the victor, he agrees to the obligation ‘a) not to be envious of his xenos and b) to speak well of him. The argumentation is: Xenia excludes envy, I am a xenos, therefore I am not envious and consequently praise honestly’. Slater observes that envy may foster bias against the patron, but the problem of pro-patron bias remains: does the poet's friendship with and obligation to his patron produce praise at the expense of truth?
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Gamble, Miriam Claire. « Form, genre and lyric subjectivity in contemporary British and Irish poetry ». Thesis, Queen's University Belfast, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491942.
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This thesis engages with the usc of traditional forms, and the role of the lyric subject, in contemporary poetry. It carries out close readings on the work of five contemporary poets (Derek Mahon, Michael Longley, Paul Muldoon, Don Paterson and Simon Armitage) and highlights points of intersection and influence between their various oeuvres. The thesis also challenges critical readings which suggest the existence of significant 'generational' differences in Northern Irish poetry from the 1960s onwards, and reveals, by dose attention to the poems themselves, that the critical perception of a clear barrier existing between the formal 'conservatism' of one generation and the 'experimentalism' of the next is unfounded and incorrect. By linking the formal procedures of Paul Muldoon to pre-existing strategies perceptible in the work of two earlier poets, Michael Longley and Derek Mahon, it reveals a more fruitful pattern of exchange and influence, and highlights ways in which the two earlier writers, via their manipulation of form and subject, may be seen to engage with 'radical' concepts habitually perceived to be beyond their purview. To this end, the thesis also interacts with theories of form, language and subjectivity. Finally, by extending its reach beyond Northern Ireland to include the work of two emergent British poets, Don Paterson and Simon Armitage, the thesis argues that the formal approaches of Northern Irish poetry continue to exert visible intluence on new writing, thus challenging arguments which suggest these techniques to be redundant, retrograde or site-specific. Using the figure of Paul Muldoon as intermediary, it asserts the significance of Muldoon's formal inheritance to his influence on younger writers, and argues for recognition of the means by which Armitage and Paterson straddle the conventional binaries of labels like 'mainstream' and 'experimental.'
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McLaren, Laura. « The Lyric Video as Genre : Definition, History, and Katy Perry's Contribution ». Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38124.
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Since YouTube was founded in 2005, prosumers have been uploading karaoke-style “lyric videos” of their favourite songs in order to creatively and visually accompany the song, while making it available online to other listeners. In the last few years, more and more artists have adopted this trend and are releasing official lyric videos that follow and expand on this tradition, thus commanding immediate visual attention to new singles. Additionally, these videos control the images and sounds associated with the song and artist, while profiting from advertising revenue tied to online video content. Though scholarship on music video is increasing, there is no evidence of scholarly research on lyric videos. Seemingly simple, these videos create meanings that impact artistic personae, song and album reception, and genre identity formation. They are not merely promotional devices, or placeholders for “official” music videos.
Grounding my analysis in genre theory (Frow 2015, Brackett 2015 & 2016, Fabbri, 1982, Holt, 2007), I claim that lyric videos comprise a new visual genre of music video, following their own parameters, connections, and histories, while simultaneously participating in the ideologies and tropes of their musical genre. In order to illustrate the framework, I offer a history of the genre by focusing my analysis on the lyric videos released by Katy Perry over the course of seven years, from 2010 to 2017, from the promotion for four of her most recent albums. By offering a historical analysis, I show how the lyric video has emerged, evolved and become established as a distinct visual genre. I include brief interludes in my analysis to highlight other important moments in the development of the genre, and to discuss how the lyrics, sound, and images are diversely represented in lyric videos depending upon musical genre. Drawing from feminist theory (Gledhill 2000), as well as persona theory (Auslander 2004, Moore 2005), I conclude that lyric videos offer unique possibilities for artists to amplify the meaning of their song and the spectator’s understanding of the lyrics, while portraying information about the artist’s subjectivities, and as such, deserves more scholarly attention as a distinct visual genre.
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Li, Xudong. « Cellular genes regulating gammaherpesvirus lytic replication and reactivation ». Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610653941&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Ivings, Krisandra. « Country Culture and Crossover : Narrative Representations of Gender and Genre Through Lyric, Music, Image, and Staging in Carrie Underwood's Blown Away Tour ». Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35252.
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This thesis examines the complex and multi-dimensional narratives presented in the work of mainstream female country artist Carrie Underwood, and how her blending of musical genres (pop, rock, and country) affects the narratives pertaining to gender and sexuality that are told through her musical texts. I interrogate the relationships between and among the domains of music, lyrics, images, and staging in Underwood’s live performances (Blown Away Tour: Live DVD) and related music videos in order to identify how these gendered narratives relate to genre, and more specifically,
where these performances and videos adhere to, expand on, or break from country music tropes and traditions. Adopting an interlocking theoretical approach grounded in genre theory, gender theory, narrative theory in the context of popular music, and happiness theory, I examine how, as a female artist in the country music industry, Underwood uses genre-blending to construct complex gendered narratives in her musical texts. Ultimately, I find that in her Blown Away Tour: Live DVD, Underwood uses diverse narrative strategies, sometimes drawing on country tropes, to engage
techniques and stylistic influences of several pop and rock styles, and in doing so explores the gender norms of those genres.
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du, Perron Lara. « The lyrics of Thumri : Hindi poetry in a musical genre ». Thesis, SOAS, University of London, 2000. http://eprints.soas.ac.uk/29472/.
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Thumri is a vocal genre in North Indian (Hindustani) art music. It was traditionally used in songstress-courtesan performance, in the early nineteenth century as an accompaniment to interpretive dance, and later as a lyrical and emotive song form. Thumri is now one of the most popular genres in contemporary art music. The lyrics of thumri have not been the subject of extensive academic enquiry. This dissertation examines thumri texts from two perspectives: linguistic and contextual. It is primarily based on song texts collected during field work in North India in 1996-97, as well as on material transcribed from commercial recordings and printed sources. The detailed linguistic analysis carried out in chapter two provides an overview of the idiosyncrasies of the language of thumri texts, and explores their stylistic consequences. Chapter three examines the formal structure of the texts. Chapter four discusses the main themes that occur in thumri, and their literary antecedents. Thumri's contextual element is salient: in the process of negotiating the gradual move from courtesan's salon to modem concert stage, awareness of the relevance of thumri's historical role has been eroded to such an extent that we can speak of a 'reinvented' tradition. Chapter five locates thumri within the milieu of North Indian music culture, and examines how changes in the genre's context have affected its lyrics. Chapter six addresses issues of authenticity, as the ramifications of how genres respond to changing performance environments are considered. The conclusion is followed by three appendices. Appendix one contains the main corpus, the 108 texts upon which the dissertation is based. The texts are given with their variant versions where known, resulting in a total of 180 texts. These are translated, and problematic points of grammar and translation are briefly discussed. Appendix two consists of five charts which overview the use of rhyme and other poetic devices in thumri. Appendix three comprises a glossary of technical terms used in the thesis.
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Gustafsson, Pontus. « Förgänglighetstematiken i Kristina Lugns lyrik respektive dramatik ». Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-42507.
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Syftet med uppsatsen är att undersöka hur förgänglighetstematiken tar sig uttryck i Kristina Lugns lyrik respektive dramatik. Jag analyserar en diktsamling och ett drama: Hej då, ha det så bra!från 2003, respektive Nattorienterarnafrån 1998. I min analys utgår jag från en tematisk läsning för att ta fasta på förgänglighetstematiken, för att vidare undersöka hur tematiken tar sig uttryck i respektive genre. Jag tar bland annat hjälp av begreppet ”genericitet”, som ser genre ”som ett material som texten produktivt bearbetar”. Analysen visar att förgänglighetstematiken är påtaglig i de båda verken. Analysen visar också att förgänglighetstematiken tar sig uttryck på olika sätt i respektive genre; dramatiken uttrycker förgänglighetstematiken på ett teatraliskt och humoristiskt sätt, medan lyriken uttrycker förgänglighetstematiken på ett mer avskalat och direkt sätt. Förordet till Nattorienterarna, där Kristina Lugn skriver om sitt förhållande till respektive genre, underbygger min tolkning. Lugn låter allvaret komma närmre läsaren genom sin lyrik.
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Jenkins, Peter John. « Transcriptional regulation of the Epstein-Barr virus immediate early genes ». Thesis, Imperial College London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367926.
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Kerwin, Chelsea E. « Bodies at Their Most Violent ». Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431004825.
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Brunner, Isaac. « Taken to the Extreme : Heavy Metal Cover Songs – The Impact of Genre ». Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1155518980.
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Choi, Jung Ja. « Writing Herself : Resistance, Rebellion, and Revolution in Korean Women's Lyric Poetry, 1925--2012 ». Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13070020.
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Despite a recent global surge in the reception and translation of Korean women poets, there has been surprisingly little scholarship on this topic. This dissertation aims to expand the focus of Western scholarship beyond the Korean male canon by providing the first in-depth analysis of the works of Korean women poets in the 20th and 21st centuries. The poets I chose to examine for this study played a critical role in revolutionizing traditional verse patterns and in integrating global socio-political commentary into modern Korean poetry. In particular, by experimenting widely with forms from epic narrative, memoir in verse, and shamanic narration to epistolary verse and avant-garde styles, they opened up new possibilities for Korean women's lyric poetry. In addition, they challenged the traditional notion of lyric poetry as simply confessional, emotional, passive, or feminine. Their poetry went beyond the commonplace themes of nature, love, and longing, engaging with socio-political concerns such as racial, class, and gender discrimination, human rights issues, and the ramifications of the greatest calamities of the 20th century, including the Holocaust, the Korean War, and the Kwangju Uprising. Unlike the dominant scholarship that tends to highlight the victimization of women and their role as passive observers, this project shows Korean women poets as active chroniclers of public memory and vital participants in global politics and literature. The multifaceted and detailed reading of their work in this dissertation facilitates a more nuanced understanding of the complexity of 20th-and 21st-century women's lives in Korea.East Asian Languages and Civilizations
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Quinn, Laura. « EBV immune evasion genes modulating CD8+ T cell recognition during lytic cycle replication ». Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/4559/.
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During lytic cycle replication EBV expresses at least three genes; BNLF2a, BILF1 and BGLF5, which individually act to inhibit efficient processing and presentation of CD8+ T cell epitopes. This thesis sets out to assess the relative contribution of these potential immune-modulating proteins to the evasion from CD8+ T cells at different stages of EBV lytic cycle. Lentiviral vectors for shRNAs were used to silence expression of these individual viral genes in EBV-transformed B-cells, which were then probed with CD8+ T cell effector clones of specificities for epitopes derived from the three phases of the EBV lytic cycle; allowing us to determine the contribution each immune evasion gene makes towards the inhibition of antigen presentation during lytic cycle. Cells replicating viruses lacking BNLF2a were more efficiently recognised by CD8+ T cells specific for immediate early and early expressed antigens relative to those lacking BGLF5 and BILF1. Conversely, cells lacking the expression of BILF1 were better recognised by CD8+ T cells specific for early and late lytic antigens. These data suggest that whilst the role BNLF2a plays in interfering with antigen presentation diminishes as lytic cycle progresses (IE>E>>L), BILF1 plays a more active role with the progression of lytic cycle (IE
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Grönevik, Klara. « The Depiction of Women in Rap and Pop Lyrics ». Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-29947.
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The aim of the study is to investigate song lyrics within rap and pop music from a cultural and a gender perspective, focusing on the depiction of women. The investigation focuses on the nouns the songwriter use to refer to the concept of woman. Twenty songs from each genre are conveyed in this study. The results show that rap lyrics contain multiple nouns referring to the concept of woman that depict women in a negative way. Pop lyrics do not contain these words and thus have a more positive way of depicting women. Nouns that occur in both genres tend to be of positive value whereas nouns that are only represented in the rap genre tend to be of negative value, something that indicates these nouns to be bearers of cultural values. It is easier to distinguish hip-hop culture, of which rap is a part, due to the fact that it consists of distinctive language that is highly connected to that particular genre. Pop music however, is very broad and also more difficult to distinguish as a unique culture compared to hip-hop. The language used in pop lyrics is rather commonplace and does not stand out in the crowd as the language in rap lyrics does.
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Bergstrom, Carson Robert. « The rise of new science epistemological, linguistic, and ethical ideals and the rise of the lyric genre in the eighteenth century ». Thesis, University of Edinburgh, 1996. http://hdl.handle.net/1842/20719.
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This thesis undertakes to explore the way in which the emergence of new science epistemological, linguistic, and ethical ideals influenced and transformed the ways in which seventeenth- and eighteenth-century writers conceived of lyric experience, bringing about a metamorphosis of the lyric from a minor to a major genre. The Introductory Preamble establishes the polemical and intellectual bases for this study, drawing attention to the way in which eighteenth-century criticism devalues the contribution of the lyric in eighteenth-century culture and society. It shows how the lyric was the most popular poetic form throughout the century, and it provides evidence of a changing view of its expressive abilities from the early to the later decades. The Preamble concludes with the thesis that the lyric's change in generic valuation occurs because it shared many of the epistemological assumptions which conditioned or modified most thought and feeling throughout the century, that lyric experience evolved as part of a cultural circumambience in which, through both ideological and rhetorical precepts, experimental science was exerting an hegemonic force on every aspect of day-to-day experience. The lyric genre was that form which most readily expressed the new experience and appreciation of nature brought about by the experimental science. Chapter One assesses why the modern critical tradition has conceived the image of the eighteenth-century lyric as it has done for about two hundred years. This review yields theoretical and historical fruits for the arguments of later chapters. Chapter Two, focusing on Bacon's The Advancement of Learning, the work of Wilkins, Sprat, Locke, and others, examines those particular components of the new science which directly influenced the metamorphosis of the lyric genre--the rejection of authority, the development of epistemological principles, and adherence to a linguistic, rhetorical, and ethical code.
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Ferreira, Marcio Maua Chaves. « Os cantos de Sófocles : tradução e análise de gênero e metro das passagens líricas d\'As traquínias, Ájax e Antígona ». Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-12112015-120929/.
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A presente pesquisa tem a finalidade de traduzir as passagens líricas de três tragédias de Sófocles, As Traquínias, Ájax e Antígona, e analisá-las do ponto de vista dos elementos de gênero nelas encontrados e dos metros e estrofes que compõem sua estrutura. Na parte introdutória do trabalho, a cronologia das peças elegidas e as características de forma e conteúdo que apresentam em comum são discutidas com o fim de se mostrar que, se não formam um primeiro grupo de tragédias, como pretendem alguns autores, seriam ao menos as mais antigas dentre as peças supérstites de Sófocles. O primeiro capítulo da primeira parte da dissertação estabelece uma comparação entre os metros e os tipos de estrutura estrófica empregados nos poemas sob análise e aqueles presentes nas composições dos poetas líricos não dramáticos. O segundo capítulo divide-se em cinco seções, cada uma com um poema tomado como caso de estudo para por em questão um gênero determinado e a sua relação com o poema escolhido: (i) o párodo d\'As Traquínias (hinos e preces da tradição grega); (ii) o canto monostrófico (205-24) da mesma peça (ditirambo, peã e cantos nupciais [hymenaios, epithalamios]); (iii) o primeiro estásimo também dessa tragédia (odes epinícias); (iv) o seu segundo estásimo (canção de boas-vindas [prosphonetikon]); (v) e o primeiro kommós (806-82) de Antígona (lamento fúnebre [threnos]). As traduções das passagens elegidas, antecedidas por uma nota a respeito de seus critérios, formam a segunda parte da dissertação, que se finda então com as considerações finais, que buscam dar maior unidade ao trabalho, relacionando não só os dois capítulos da primeira parte, mas os poemas não tratados de modo específico naquelas cinco seções dessa primeira parte com os temas nela trabalhados ao longo da pesquisa. Como apêndice ao trabalho há a escansão de todos os poemas traduzidos e um glossário com todos os metros encontrados nos poemas, sua classificação e abreviatura.The present research aims to translate the lyrical passages of three Sophoclean tragedies, Trachiniae, Aias, Antigone, and analyze them in terms of the elements of genre found therein and of the strophes and meters that make up its structure. In the introductory part of the work, the chronology of the selected plays and the form and content features they have in common are discussed so as to demonstrate that, if they do not constitute a first group of tragedies, as some authors claim, they should at least be placed among the oldest extant plays by Sophocles. The first chapter of the first part of the dissertation provides a comparison between the meter and the types of strophic structure employed in the poems under consideration and those present in the compositions of non-dramatic lyric poets. The second chapter is divided into five sections, each with a poem taken as a case study concerning a particular genre and its relationship with the poem chosen: (i) the parodos of Trachiniae (hymns and prayers of the Greek tradition); (ii) the monostrophic song (205-24) of the same play (dithyramb, paian and wedding-song [hymenaios, epithalamios]); (iii) the first stasimon also of this tragedy (epinician odes); (iv) its second stasimon (welcome-song [prosphonetikon]), (v) and the first Antigones kommos (806-82) (dirge [threnos]). The translations of the selected passages, prefaced by a note regarding their criteria, form the second part of the dissertation, which then ends with concluding remarks that seek to give greater unity to the work, relating not only the two chapters of the first part, but also the poems not treated specifically in those five sections of the first part with the themes that were elaborated there during the research. As an appendix to this work there is a scansion of all translated poems and a glossary with all meters found in the poems, their classification and abbreviation.
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Fulton, Lucas J. « Poems from a House that No Longer Exists ». Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586978614357824.
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Falk, Johanna. « We will rock you : A diachronic corpus-based analysis of linguistic features in rock lyrics ». Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-24249.
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In the present paper, the potential of corpus-linguistic research is put into action. More specifically, a corpus-based demonstration of the general style used in rock lyrics is formed in order to identify the genre-specific features. A corpus consisting of roughly 53 000 words was created for this research. The focus lies on a quantitative and qualitative analysis of the vocabulary as well as of the stylistic markers. The aim of this essay is to investigate the language used in the lyrics of rock music lyrics and the results of the research illustrate in what ways rock lyrics are either more spoken-like or written-like; whether rock lyrics mirror the general word usage in society, and in what ways rock music is comparable to other genres. Using the rock lyrics corpus (ROLC), trends within rock lyrics were retraced diachronically. Results show that rock lyrics, to some extent, follow the general word usage. However, other results also contradict this. Further research in this area is therefore encouraged. Findings show that rock music shares features with other genres, but also that that rock has some unique features. Developments and stagnations were detected in regards to word usage. These features are examined in order to find an explanation.
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Föcking, Marc. « Rime sacre und die Genese des barocken Stils : Untersuchungen zur stilgeschichte geistlicher Lyrik in Italien, 1536-1614 ». Stuttgart : Franz Steiner Verl, 1994. http://catalogue.bnf.fr/ark:/12148/cb39915063g.
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Rabelo, Victor Coutinho. « Prosa do coração, poesia do mundo : incorporação da lírica nos contos de Katherine Mansfield ». Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-14022017-100146/.
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Uma das principais peculiaridades que distinguem o conto de outras formas pertencentes ao gênero épico é o compartilhamento de certas características e procedimentos típicos da Lírica. Reflexões acerca desse hibridismo de gênero podem ser encontradas já na obra crítica de um dos mais ilustres iniciadores do conto moderno, o norte-americano Edgar Allan Poe, cuja priorização do efeito incutido pela narrativa e a preocupação em obter um tom e/ou um acontecimento singular que o transmitam ao leitor de forma contundente submetem o conto a diversas exigências internas que são mais comumente encontradas na Lírica, entre elas: a brevidade e intensidade da narrativa, a condensação tanto linguística quanto temática e uma perspectiva que se atém exclusivamente às próprias imediações. O lirismo na obra de Katherine Mansfield se manifesta principalmente através de meticulosos recortes temáticos que demonstram seu olhar atento aos detalhes mais ínfimos, do emprego de imagens e símbolos significativos e da posição cambiante de um narrador que frequentemente procura fundir sua perspectiva e seu próprio discurso ao das personagens principais. Para tanto, a autora recorre largamente à técnica do discurso indireto livre, que permite ao narrador se apropriar da voz de diversas personagens sem se limitar à perspectiva unitária da narrativa em primeira pessoa, o que confere à sua obra um grau ainda maior de subjetividade e, ao mesmo tempo, uma multiplicidade caleidoscópica dentro dos limites estritos do conto.One of the main singularities that distinguish the short story from other forms that belong to the Epic genre is the sharing of certain characteristics and procedures with Lyric poetry. Considerations on this genre hybridism can already be found in the critical work of one of the most renowned founders of the modern short story, Edgar Allen Poe, whose priorization of the effect created by the narrative, as well as the aim to obtain a tone and/or a singular episode capable of conveying said effect to the reader, subject the short story to various internal requirements which are more commonly found in Lyric poetry, such as: the brevity and the intensity of the narrative, its linguistic and thematic condensation, and a point of view that focuses exclusively on its own immediacies. The lyrism found in the work of Katherine Mansfield is achieved mostly through a careful selection of theme that reveals her attention to detail, the use of meaningful images and symbols, and the shifting point of view of the narrator, who often attempts to combine his perspective and his speech to those of the main characters. In order to do that, the author frequently employs indirect free speech, which allows the voices of different characters to be incorporated without being limited by the one-sided perspective of a first-person narrator. Her stories are thus enriched by an even higher degree of subjectivity and, at the same time, by a kaleidoscopic diversity within the strict limits of the short story.
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Mohammadi, Nahid. « Transformational subjectivity : a Foucauldian discourse analysis of "identity", "gender" and "nature" in Adrienne Rich's poetry ». kostenfrei kostenfrei, 2007. http://d-nb.info/988881195/34.
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Parks, Megim A. « "Purple People" : "Sexed" Linguistics, Pleasure, and the "Feminine" Body in the Lyrics of Tori Amos ». CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/5.
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The notion of a “feminine” style has been staunchly resisted by third-wave feminists who argue that to posit a “feminine” style is essentialist. Yet, linguists such as Norma Mendoza-Denton and Elinor Ochs discuss indexicality and shifting through salient variables, a process called entextualization. Further, French feminists such as Hélène Cixous and Julia Kristeva use the linguistic concept of intertextuality to explain certain poetic uses of language that might cause what Luce Irigaray calls “irruption of the semiotic chora”—moments within language where boundaries in the semiotic chain of signification are “blurred.” Thus, while current feminism has moved strictly away from the idea that there is an exigent “feminine” to which all women must aspire, there exists a tenuous, but salient connection between the linguistic concepts of indexicality and intertextuality on one hand, and jouissance and “irruption of the chora” on the other that can inform those styles we might term “feminine” and allow for a more productive and responsive perception of “femininity.”
Amos’ lyrics illustrate these theories working together; Amos’ lyrics represent such a “feminine” style as indexed through use of salient variables; thus, Amos’ lyrics represent a sociolinguistic phenomenon wherein gender-based salient variables reform what “feminine” is and means, challenging social attitudes and the specular feminine persona within both the personal and public spheres. The implications of these theories could eventually influence perceptions of women in any particular profession or sphere, as gendered linguistic markers influence gender roles and implications, which, in turn, inform social change.
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Souza, Eliana Aparecida Albergoni de. « Percursos de leitura : trabalhando com a letra de canção na sala de aula ». Universidade Federal de Mato Grosso, 2014. http://ri.ufmt.br/handle/1/324.
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CAPES
Neste trabalho, tece-se uma reflexão sobre o gênero discursivo “Letra de canção” e propõe sua utilização em aulas de língua portuguesa, com a finalidade de contribuir na formação de leitores críticos e autônomos, tal como preconizado pelas Orientações Curriculares para o ensino médio (OCEM). As reflexões e análises foram ancoradas na teoria enunciativo-discursiva de abordagem sócio-histórico de Volochinov e Bakhtin e seu Círculo. Para situar o gênero letra de canção dentro da teoria bakhtiniana, como gênero poético do discurso, parte-se da conceituação de Padilha. Os baixos índices de desempenho em leitura dos estudantes brasileiros em eventos avaliativos como a Prova Brasil e PISA indicam a necessidade de reavaliar o ensino de leitura bem como a importância de propostas que impliquem em novas abordagens para os textos que são levados para a sala de aula. As propostas apresentadas nesta dissertação tentam atender a estas necessidades e são organizadas a partir das orientações das OCEM sobre leitura. O trabalho em questão busca visualizar a estrutura, os rastros ideológicos, as condições de produção e a intenção comunicativa presentes no texto, designados como percursos de leitura.
This paper reflects on the discursive genre "Song lyrics" and proposes its use in Portuguese Language classes in order to contribute to the formation of critical and independent readers, as recommended by the Curricular Guidelines for High School (OCEM). The reflections and analysis were anchored in the enunciative-discursive theory of socio-historical approach of BAKHTIN ([1929] 2004) and the Circle. To situate the genre Song lyrics within Bakhtinian theory, as a poetic genre of discourse, we started from the concepts of Padilha (2005). Low levels of reading performance of Brazilian students in evaluative events like Prova Brasil and PISA indicate the need to reevaluate the teaching of reading and the importance of proposals involving new approaches for the texts that are brought into the classrooms. The proposals presented in this dissertation attempt to meet these needs and are organized according to the guidelines of OCEM on reading. The work here suggested of analysis of song lyrics in the classroom, trying to visualize the structure, the ideological traces, the conditions of production and the communicative intention in the text, was designated as pathways in reading.
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Clausen, Jenelle. « Asset Protection ». Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1429269560.
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Malm, Annica. « Somebody’s gotta wear a pretty skirt : Constructions of masculinity and femininity in modern country music ». Thesis, Högskolan Väst, Avd för utbildningsvetenskap och språk, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-10541.
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Constructions of masculinity and femininity can be reinforced through written and spoken language, creating stereotypes and inequality between genders. Gender representations in music lyrics have been studied for various genres, but the country music genre has been somewhat underrepresented. Considering the fact that country is seen as the authentic music genre and culture of the US, it is relevant to study how gender is represented in relation to society. The aim of this study is to investigate how masculinity and femininity is represented in 15 modern country songs from the last decade retrieved from Billboard.com. The hypothesis for this study is that modern country music should have a less stereotypical view on men and women than older country music. Critical Discourse Analysis has been used to analyse the lyrics, and metaphors, similes and verbs have been analysed in order to reach the aim. The country music culture has been the framework to interpret the results, as well as the view of femininity and masculinity as social constructions. The findings point to more exaggerated versions of masculinity and more stereotypical depictions of femininity being represented in the lyrics than older research made about country music and gender. Masculinity and femininity are depicted as opposites with clear boundaries set between them. The modern lyrics express a desire to claim authenticity through conservative and stereotypical representations of men and women, using metaphors and verbs that enforces certain norms and assumptions about femininity and masculinity.
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Bingle, Johannes Petrus. « Die dramatiese, epiese en liriese stramien van die liturgiese lied / Johannes Petrus Bingle ». Thesis, North-West University, 2011. http://hdl.handle.net/10394/7324.
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In this study it is assumed from a central theoretical argument that the Bible based, scripturally true liturgical song, possesses an exceptional bonding structure. The set literary archetypes of the dramatic, epic and lyric - or the dramatical, epical and lyrical - are woven together to form the canvas for the hymnical praise of the worshipping community. The aim of the study is to dissect the relationship in which the archetypes stand to one another and to establish which trans–generical phenomena and movements can be detected in order to determine what their meaning is for liturgical songwriting. This is done on the basis of an analysis of the Book of Revelation, specifically pertaining to the hymnographical corpus in the book. To do this the most obvious meta–theory of this study is the literary theory, while the basis, principles and guidelines of the hymnographical basistheory are determined by theological biblical science. In the first main chapter (meta–theory) of the study the questions of what literature is and whether the Bible is literature, are explored and answered. The conclusion to this is that the Bible is true literature and that this religious script plays a central, unique and prominent role in the progression of the christian–western cultural world. In the process of determining the different approaches to the study of literature, note was taken of the various theoretical assumptions and theories and of the influence that each has and can have on theological biblical scientifical research. In the second main part (inter–disciplinary theoretical aspects) the investigation proceeds from the study of meta–theoretical literary terrain identification to the determining of the connection, link, sym–biosis and synergy between the literary meta–theory and the theological basistheory of this study. Shared and partly overlapping study terrains of the literary sciences and the bibilical sciences are explored. This leads to the demarcation of both an inter–disciplinary and multisubdisciplinary field of study, for which an approach and a method to further explore had to be developed. In the third main part (basistheory) the perspectives gained in the first two parts are unlocked to the advantage of the biblical scientifical study of Revelation. The last book of the Bible is analysed macro–structurally by means of a narratological reading and accompanied by a cursory–exegetic explanation, after which the meaning of the corpus of hymnical microtexts in their context within the macro–structure are further unlocked by means of detailed exegesis. In this way basis–theoretical hymnographical priniciples in Revelation can be identified. These are integrated in the fourth and last main part and are then concretised, using a song as example, in guidelines for hymnography. In this final main part (the outcome of the study) the investigation reaches its set aims as well as the overall goal in that it could be verified that the canvas of the liturgical song should be integrated successfully not only wordperfect, but also Wordperfect in all its facets through literary quality and biblical–principled motivation. This should allow the flame (= liturgical song) of the sacrifice of thanksgiving (= worship) to burn brightly in a time of diverse positions on church song.Thesis (Ph.D. (Liturgics))--North-West University, Potchefstroom Campus, 2012.
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Thomas, Kelly G. « Box, Me ». Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1417698151.
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Collins, Jessica A. « Verge ». ScholarWorks@UNO, 2016. https://scholarworks.uno.edu/td/2249.
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This poetry thesis explores the relationship of the Buddhist concept of nonduality to polar mood disorders by employing motifs of bomb testing, war crimes, spiders, and seascapes. A critical preface credits Sylvia Plath, Emily Dickinson, and Mary Ruefle as influences. The manuscript favors free-verse poetry and field composition, though also includes a lyric essay and two formal poems.
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Fernandez, Morales Roberto. « Angry Aryans Bound for Glory in a Racial Holy War:Productions of White Identity in Contemporary Hatecore Lyrics ». The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492447705843452.
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Levine, Lauren E. « Act Like a Punk, Sing Like a Feminist : A Longitudinal Content Analysis of Feminist Themes in Punk Rock Song Lyrics, 1970-2009 ». Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801944/.
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Punk rock music has long been labeled sexist as copious media-generated accounts and reports of the genre concentrate on male artists, hyper-masculine performances, and lyrics considered to be aggressive, sexist, and misogynist. However, scholars have rarely examined punk rock music longitudinally, focusing heavily on 1980s and 1990s manifestations of the genre. Furthermore, few systematic content analyses of feminist themes in punk rock song lyrics have been conducted. The present research is a longitudinal content analysis of lyrics of 600 punk rock songs released for four decades between 1970 and 2009 to examine the prevalence of and longitudinal shifts in antiestablishment themes, the prevalence of and longitudinal shifts in sexist themes relative to feminist themes, the prevalence of and longitudinal shifts in specific feminist branches, and what factors are related to feminism. Using top-rated albums retrieved from Sputnik Music’s “Best Punk Albums” charts, systematic random sampling was applied to select 50 songs for each combination of three gender types and four decades. Sexism and feminism were then operationalized to construct a coding sheet to examine relevant dimensions. While the present study found no significant patterns of longitudinal increase or decrease in feminist or sexist themes, it revealed that feminist themes were consistently high across four decades and, furthermore, indicated a phenomenon of post-modern hybridity.
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Silva, Caroline Tavares da. « O poema longo moderno e contemporâneo ». Universidade Federal de Goiás, 2012. http://repositorio.bc.ufg.br/tede/handle/tede/3263.
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he present dissertation is about the long poem as a genre problem and style by the epic and the lyric, having as object, to develop the theme, three long poems from Gerardo Mello Mourão: Susana, “Suíte do couro ou louvação do couro” (“The leather’s suite or the leather’s laudation”) e “O País dos mourões” (“The country of Mourões”). To start our research, we start from the concept that the history of the long poem was linked to the history of epic and medieval poem until the emerging of Romantism – when the epic united itself to the lyric one (HEGEL, 1997, p. 551). In fact, before Romantism, the long poem was actually the epic poem, cause the classic authors, and the ones before them, was attached to the form to make their poems and the traditional form for a long poem was the epic. The romantic poets broke with the classic formalism, cause they sing about the feelings they are having, wich means, there is an immersion of the subject on the poetic discourse and the used for is a consequence of this. After that, they can composse poems in anyway they want to, with the propose to express the feelings of the moment. Because of that, we consider the long poem, as we know, as a product of Romantism, created from the broke to the classic formalism.
O presente trabalho refere-se ao poema longo como um problema de gênero e estilo pelo épico e pelo lírico, tendo como objetos, para discorrer sobre o tema, três poemas longos de Gerardo Mello Mourão: Susana, “Suíte do couro ou louvação do couro” e “País dos mourões”. Para iniciar nossa pesquisa partimos da concepção de que a história do poema longo esteve vinculada à da poesia épica e medieval até o surgimento do Romantismo – quando o épico se imiscuiu de características do gênero lírico (HEGEL, 1997, p. 551). Na verdade, antes do Romantismo o poema longo era de fato o poema épico, pois os clássicos (ou seja, os poetas do Classicismo) e os que os precederam prendiam-se à forma para a feitura de seus poemas e a forma tradicional para um poema longo era o poema épico. Os românticos rompem com o formalismo clássico, pois cantam o sentimento que têm, ou seja, há uma imersão do sujeito no discurso poético e a forma usada é uma consequência dessa imersão. A partir daí, eles passam a compor poemas da maneira e na forma que lhes convenha, com o único objetivo de expressar o sentimento a que são acometidos no momento. Por esse motivo, consideramos que o poema longo, como o conhecemos na contemporaneidade, é um fruto do Romantismo, criado a partir do rompimento com o formalismo clássico.
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Rosen, Yosef. « Acres of Flesh ». Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1429113819.
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Blinova, Olga. « Le mythe de l'androgyne dans l'oeuvre poétique de Zinaida Gippius ». Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAC016.
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Centrée sur l’analyse systématique de l’oeuvre poétique de Z. Gippius, la présente thèse tâche de démontrer que le mythe de l’androgyne sous-tend la poésie de cet auteur et permet de la lire comme une première mise en action d’un projet utopique d’humanité transfigurée. La thèse procède des points de convergence entre les thèmes propres aux réflexions utopiques (personne, amour et société) et les principales situations discursives de la poésie lyrique. Aussi se structure-t-elle en trois parties qui progressent de l’androgynie comme principe constitutif de la personne idéale (étudiée à travers le JE du sujet lyrique) vers la conception de l’amour androgyne (qui établit la relation entre le JE du sujet lyrique et le TU de l’allocutaire) et, enfin, vers la dimension collective de l’androgynie (avec le NOUS comme reflet d’une divino-humanité androgyne) Se penchant sur l’emploi que Gippius fait de l’antithèse, cette étude tente de saisir la démarche créatrice du poète-symboliste qui partirait d’une recherche quasi obsessionnelle des opposés pour aboutir à la synthèse universelle et se traduirait à travers le champ sémantique de l’union et de la fusion, à travers la place stratégique en fin de texte des mots et des séquences qui expriment cette sémantique et, surtout, à travers l'emploi de l’oxymore et du paradoxisme, tous deux relevant de la coincidentia oppositorum dont le mythe de l’androgyne est une des manifestations.C’est à un véritable acte démiurgique que l’on assimilerait l’écriture de Gippius au fil de laquelle, grâce à la fluidité des genres et des incarnations des principes masculin et féminin l’androgynie devient le principe fondateur de l’univers poétique tout entierBy systematically analysing the poetry of Zinaida Gippius, this thesis attempts to show that the myth of the androgyne underlies the poet’s work, letting it be read as the initial stage of implementation of a utopian scheme of transfigured humanity. The thesis proceeds from the points of convergence of the themes characteristic of utopian thinking (person, love and society) and the principal discursive situations found inlyric poetry. It is ordered in three parts, progressing from the androgynous as a constitutive principle of the ideal human being (examined through the lyric subject I) to the conception of androgynous love (establishing the relationship between the lyric I and the YOU addressed), and finally to the collective dimension of theandrogynous (where the WE is the reflection of an androgynous humanity-divine).Considering the use Gippius makes of antithesis, this study attempts to grasp the symbolist poet’s creative process, which appears to spring from an almost obsessive search for opposites, and to lead to universal synthesis, as translated through the semantic field of union and fusion, through the strategic positioning at theend of the text of the words and sequences that express this semantic field, and especially through the use ofthe oxymoron and the paradox, both being part of the coincidentia oppositorum of which the myth of the androgyne is one manifestation.The writing of Gippius can be likened to a veritable demiurgic act via which, thanks to the fluidity of the genders and the incarnations of the two fundamental principles – the masculine and feminine – the androgynous becomes the founding principle of the whole poetic universe
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Sandén, Johanna. « You know who pop the most shit ? : A study of profanity and gender differences in modern pop music ». Thesis, Umeå universitet, Institutionen för språkstudier, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-173998.
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Are there any gender differences in how profanity is used in modern pop music in 2019? The purpose of this study was to analyse music lyrics with particular attention paid to frequency and profanity profiles between female and male artists. The corpus used in the investigation contains a total of 34 music lyrics equally divided between the genders and was collected from a Billboard chart called “Hot 100 Songs”. Although this sample was small and may not be representative of all modern pop music lyrics, trends in this data show that the female artists sampled from the Billboard chart actually use profanity more frequently than male artists, which is in contrast to previous research. Furthermore, the result shows that male and female artists have distinctive profiles regarding the types of profanity used. Female artists use the swear word bitch more frequently whereas male artists tent to use nigger with a greater frequency.
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Dunkle, Iris Jamahl. « Shaking the Burning Birch Tree : Amy Lowell’s Sapphic Modernism ». Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1259612760.
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Hippler, Christine. « The relationship between genre choice of music and altruistic behavior ». Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/443.
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Extensive research has documented the relationship between listening to certain genres of music and negative effects on social behavior such as aggressive and antisocial behavior. The present study explored whether there are genres of music associated with altruism. Altruistic behavior is defined as behavior that is consistently more caring, helpful, considerate of other's feelings, and self- sacrificing. These behaviors promote our ability to thrive as a community. Yet, few studies have addressed the relationship between music and altruism. Data was collected from 608 college students who completed a self-report altruism scale, music preference measure, the Marlowe Crowne social desirability scale, and a demographic information form in order to see if there is a relationship between choice of music and altruism. A multiple hierarchal regression analysis found music genre choice accounted for 15.9 percent of variance in self-reported altruism. Significant, positive correlations emerged also between altruism and several music genres including alternative, country, classical, and emo.B.S.
Bachelors
Sciences
Psychology
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Kiviniemi, Katja. « "My mama don't like you and she likes everyone" : en undersökning om vilka kvinnliga stereotyper som förekommer i Billboardlistans mest spelade låtar 2016 med fokus på låttexterna ». Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-80255.
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Uppsatsen undersöker hur kvinnor porträtteras i låttexter från Billboardlistan Year End Chart Hot 100 Songs för årsslutet 2016. För att göra detta används kritisk diskursanalys ihop med Virginia W Coopers artikel ”Women in popular music: A quantitative analysis of feminine images over time” från 1985 där hon kommit fram till elva kvinnliga stereotyper som förekommer i populära låttexter. Materialet har analyserats genom fallstudier på de fem populäraste låtarna 2016 ihop med en översiktlig analys på de trettio mest spelade låtarna 2016. Den översiktliga analysen görs för att skapa ett bredare referensmaterial. Analyserna har genomförts med hjälp av kritisk diskursanalys ihop med Coopers elva stereotyper som sedan diskuterats med hjälp av bland annat genusteori. De vanligaste stereotyperna 2016 var Physical characteristics, Woman as mother, Need for a man, Possession of a man och Women as childlike.
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Lysfoss, Gunnerfeldt Isak. « “Det har blivit svårt att älska,när all kärlek lett till besvikelse” : – En studie om kärlek och genusrepresentation i HåkanHellströms och Veronica Maggios låttexter ». Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-101526.
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This is an essay about love and gender representation in Håkan Hellström’s and Veronica Maggio’s lyrics. The purpose of this essay is to investigate how lyrics of indie-pop music represent gender, sexuality and love. The lyrics used is from love songs performed by Håkan Hellström and Veronica Maggio. The method for examining the lyrics of the love songs is discourse- theory and analysis. I analyzed the results using theories about performativity, heteronormativity and masculine hegemonyic masculinity. I found patterns which indicate that love songs in indie-pop music often represents an ideal relationship to be heteronomy, meaning a heterosexual and monogamous relationship between a man and a woman. Although, there were differences between how a masculinity was built; Hellström’s discourse built a masculinity that was fragile and vulnerable, but still loving and showing a lot of emotions. Maggios discourse built a masculinity that were more or less mirroring the society’s view of how a “man” is supposed to be. Also, the view of femininity differed from the two artists: Hellström’s discourse built a femininity of strong and controlling women, and Maggio’s built a more fragile and normative discourse about femininity. Another theme that was discovered was of all the disappointment that was found in love. Indie-pop’s love is always built around disappointment in the relationship – that you will always be disappointed either by yourself or by your partner.
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Berggren, Kalle. « Reading Rap : Feminist Interventions in Men and Masculinity Research ». Doctoral thesis, Uppsala universitet, Sociologiska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-229518.
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The present thesis explores how masculinity is constructed and negotiated in relation to race, class and sexuality in hip hop in Sweden. Theoretically, the study contributes to the increasing use of contemporary feminist theory in men and masculinity research. In so doing, it brings into dialogue poststructuralist feminism, feminist phenomenology, intersectionality and queer theory. These theoretical perspectives are put to use in a discourse analysis of rap lyrics by 38 rap artists in Sweden from the period 1991-2011. The thesis is based on the following four articles: Sticky masculinity: Post-structuralism, phenomenology and subjectivity in critical studies on men explores how poststructuralist feminism and feminist phenomenology can advance the understanding of subjectivity within men and masculinity research. Drawing on Sara Ahmed, and offering re-readings of John Stoltenberg and Victor Seidler, the article develops the notion of “sticky masculinity”. Degrees of intersectionality: Male rap artists in Sweden negotiating class, race and gender analyzes how class, race, gender, and to some extent sexuality, intersect in rap lyrics by male artists. It shows how critiques of class and race inequalities in these lyrics intersect with normative notions of gender and sexuality. Drawing on this empirical analysis, the article suggests that the notion of “degrees of intersectionality” can be helpful in thinking about masculinity from an intersectional perspective. ‘No homo’: Straight inoculations and the queering of masculinity in Swedish hip hop explores the boundary work performed by male artists regarding sexuality categories. In particular, it analyzes how heterosexuality is sustained, given the affection expressed among male peers. To this end, the article develops the notion of “straight inoculations” to account for the rhetorical means by which heterosexual identities are sustained in a contested terrain. Hip hop feminism in Sweden: Intersectionality, feminist critique and female masculinity investigates lyrics by female artists in the male-dominated hip hop genre. The analysis shows how critique of gender inequality is a central theme in these lyrics, ranging from the hip hop scene to politics and men’s violence against women. The article also analyzes how female rappers both critique and perform masculinity.
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Sundin, Vera. « "En siäl, som fint och starkt och ömt och häftigt känner" : Kärlek, förfeminism och preciöst tankestoff i Hedvig Charlotta Nordenflychts diktning ». Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-315299.
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The poet Hedvig Charlotta Nordenflycht (1718–63) wrote extensively on the subject of love. Often, her texts discuss love in relation to Enlightenment subjects, such as female emancipation and education. Her works bear traces of so-called précieuse ideas – an adjective sometimes used to pack together learned French aristocratic women who frequented the Parisian salons in the mid seventeenth century. The précieuses have become famous for their original and radical thoughts on the role of women. This thesis examines the view of love expressed in a selection of pastorals, fairy tales and lyric poems by Nordenflycht, bringing the précieuse protofeminist heritage into focus. Nordenflycht was an extremely assured debater who, throughout her life, consistently advocated practically the same ideological messages. Her advocacy of female emancipation runs through nearly all her texts in some form and is, as this thesis demonstrates, apparent even in her pastorals, fairy tales and lyric poems. In this respect, she bridges differences of genre. Nordenflycht used the realm of fiction to create and promote an alternative to the traditional amorous attachments: tender, equal and spiritual friendships, inspired by Madeleine de Scudéry’s amitié tendre. She portrayed ideal love as a relationship between two free souls, helping each other reach true wisdom. Interestingly, this emphasis on ethereal affection seems to have led to the complete exclusion of sexuality from her writings. Furthermore, by depicting love as path to individual self-realisation, Nordenflycht heralded romantic love. This thesis provides a comprehensive picture of Nordenflycht’s philosophy of love and the way it relates to early modern protofeminist ideas.
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Garnier, Sylvain. « Érato et Melpomène ou les sœurs ennemies : langage poétique et poétique dramatique dans le théâtre français de Jodelle à Scarron (1553-1653) ». Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040148.
Texte intégralRésumé :
L'expression poétique semble inhérente au théâtre classique. Pourtant, les pièces de la seconde moitié du XVIIe siècle, en particulier les tragédies, sont le fruit de principes « réguliers » qui ont cherché à dépoétiser le théâtre et ont largement réussi dans cette entreprise. Pour rendre compte de ce processus, il est nécessaire de retracer l'histoire de la poésie au théâtre depuis la naissance de la tragédie humaniste, au milieu du XVIe siècle, jusqu'à l'instauration de ce que la postérité appellera le classicisme. Il apparaît ainsi que l'élocution lyrique s'est progressivement déplacée au fil du temps du genre tragique vers le genre comique en suivant l'évolution de la poésie lyrique depuis le style sublime de la Pléiade jusqu'à l'expression burlesque de Scarron en passant par la simplicité malherbienne, l'ingéniosité mariniste ou l'enjouement galant. L'expression lyrique glisse ainsi progressivement des chœurs et des discours pathétiques de la tragédie humaniste vers les soupirs, les chansons et les pointes des amants de la tragi-comédie et de la pastorale avant d'être parodiée dans la parlure ridicule des personnages de la comédie burlesque. Parallèlement à ce mouvement, les penseurs réguliers théorisent l'opposition fondamentale du langage poétique et du langage dramatique, rendant ainsi presque impossible le développement d'une tragédie régulière poétiquePoetical expression seems to be an inherent aspect of classical theatre. However, plays written in the second half of the seventeenth century, particularly the tragedies, were conceived to adhere to regular standards of form which tended towards the removal of poetic expression from theatre and which largely succeeded in doing so. To summarise this process, it is necessary to recount the history of poetic expression in plays from the advent of humanist tragedy in the mid-sixteenth century to the establishment of what would be later called « classicism ». It can then be demonstrated that lyrical elocution shifted over time from tragedy to comedy, following the same evolution as lyrical poetry which evolved from the noble style of the Pleiade all the way to Scarron’s burlesque expression, through the simplicity of Malherbe’s expression, the ingenuity of marinism, or the preciosity of the gallant style. Poetical expression thus progressively shifted from the choirs and pathetic discourses of the humanist tragedy, towards the sighs, songs, and conceits of the lovers of tragi-comedy and pastorales, before being parodied in the ridiculous manner of speech of the characters in burlesque comedy. Simultaneously, theorists of regularity theorised the fundamental opposition between poetic and dramatic language, thus making the development of a regular poetical tragedy nearly impossible
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Andersson, Emelie, et Hofmann Timjan. « En kritisk diskurspsykologisk studie av svenska kvinnliga rappares konstruktioner av kön och sexualitet i sina låttexter ». Thesis, Mälardalens högskola, Akademin för hälsa, vård och välfärd, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-28423.
Texte intégralRésumé :
Hiphopen har i alla dess tider varit en mansdominerad musikgenre och bransch men detta har under de senaste åren kommit att förändras, inte minst inom den svenska kontexten. Svensk hiphop karakteriseras idag av en utpräglad feminism, då till exempel det kvinnliga kollektivet Femtastic har växt fram. Att kvinnor idag har en minst lika stor roll som män inom den svenska hiphopen och att denna har en stark relation till feminism, visar på att den sexism vänd emot kvinnor som har präglat många raptexter skrivna av män här har kommit att förlora sin popularitet. Vi har genom att använda Edleys kritiska diskurspsykologi undersökt hur svenska kvinnliga rappare uttrycker sig och positionerar sig själva och andra i sina låttexter utifrån aspekterna kön och sexualitet, aspekter som manliga rappare ofta har använt vid beskrivning av kvinnor. Vi har med hjälp av tolkningsrepertoarer, subjektspositioner, ideologiska dilemman och Judith Butlers begrepp subversivitet kunnat urskilja olika mönster i konstruktioner av kön och sexualitet och funnit att artisterna i fråga många gånger agerar på ett sätt som bryter eller frångår köns- och sexualitetsbundna normer. Vi har även kunnat uttyda hur artisterna använder språkliga resurser som ett verktyg för att till exempel framhäva en kvinnlig styrka, såväl individuell som kollektiv.Hip hop has throughout the years been a male dominated music genre and industry but this has recently come to change, not least within the Swedish context. Today Swedish hip hop is largely characterized by its pronounced feminism, partly because of the development of the female collective Femtastic. The fact that women today have an at least equally clear role in the Swedish hip hop industry as men indicates that sexism, which has been a frequently reoccurring theme in male rap lyrics, has come to lose its popularity. We have, through the use of Edleys critical discourse psychology, examined how Swedish female rappers express gender and sexuality and how they position themselves and others with regard to these aspects, aspects that male rappers often have used to describe women. By using interpretative repertoires, subject positions, ideological dilemmas and Judith Butlers term subversivity, we have been able to distinguish certain patterns in the constructions of gender and sexuality. We have found that the artists frequently express themselves in ways that digresses from stereotypical norms of gender and sexuality and distinguished how they use linguistic resources as tools with which they, among other things, accentuate female strength, individual as well as collective.
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Minor, Sarah M. « Beasts of the Interior : Visual Essays ». Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1554390195795843.
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Suarez, Veronica. « Nights in The City Beautiful ». FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3851.
Texte intégralRésumé :
Nights in The City Beautiful is a collection of confessional, free verse poems that explores sexual trauma, mental health, the exigencies of marriage, and the complexities of human desire. These interconnected poems are grounded with a braided narrative and tackle taboo themes. In Part 1: Monogamy, the reader journeys into the world of Vincent and Victoria, their profound love, and their anxiety disorders. In Part 2: Polyamory, Victoria gets caught in a love triangle when she meets her publishing coworker, Peter Langley.
The book evokes the movement of Romanticism and first-and-second-generation Romantic poets such as William Blake and Lord Byron. Contemporary influences on this collection include Aaron Smith’s Primer, Stacey Waite’s Butch Geography, and Tracy K. Smith’s The Body's Question.
Nights in The City Beautiful merges lyricism with narrative, the ethereal with the physical. It is a novella in verse that delves into the boundaries of sexuality, love, and intimacy.
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Panzeca, Andrea. « You Don't Have to Be Good ». ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1979.
Texte intégralRésumé :
You Don't Have to be Good, is a nonfiction collection of prose, poetry and graphic memoir set in New Orleans, central Florida, and points in between. In this coming-of-age memoir, I recall the abrupt end of my dad's life, the 24 years of my life in which he was alive, and the years after his death—remembering him while living without him in his hometown of New Orleans. Along the way there are meditations on language, race, gender, dreams, addiction, and ecology. My family and I encounter Hurricane Katrina and Mardi Gras, and at least one shuttle launch. These are the stories I find myself telling at parties, and also those I've never voiced until now.
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Maganuco, Anna Maria Grazia Rita. « Generi e metro in Sofocle. Analisi di alcuni casi esemplari ». Doctoral thesis, 2020. http://hdl.handle.net/11562/1016036.
Texte intégralRésumé :
Il lavoro risulta strutturato in tre macro-sezioni, organizzate sulla base dei due generi lirico-corali che costituiscono il focus della tesi e a ognuno dei quali è dedicata una sezione; queste, a loro volta, sono precedute da una lunga introduzione di carattere storico-metodologico, nella quale si stabiliscono le linee-guida della ricerca. La sezione introduttiva si propone di riprendere sinteticamente la storia degli studi relativamente a tre percorsi che costituiscono il presupposto metodologico del lavoro di tesi: la storia del concetto di genere letterario nella Grecia antica; i limiti e le finalità di una ricerca intertestuale, che metta a dialogo la tragedia attica del V sec. a.C. e la produzione lirica arcaico-classica; la validità e l’utilità di un’analisi metrico-ritmica dei canti tragici in un’ottica che, attraverso un approccio semantico all’interpretazione metrica, guarda all’intersezione di generi lirici sul piano performativo. A proposito di quest’ultimo punto, vengono prese in considerazione delle problematiche molto discusse nel dibattito critico degli ultimi decenni: come decidere quale partitura metrica è la più affidabile (opposizione fra i difensori della colometria tràdita e i sostenitori del contrario)? Quale rapporto esisteva fra il testo, il metro, il ritmo e la musica e cosa si può trarre dai primi due in assenza degli altri elementi? Delle altre due macro-sezioni, la prima si concentra sui ‘canti iporchematici’ nella produzione drammatica di Sofocle e si suddivide nei seguenti capitoli: un’introduzione al genere iporchematico, che ripercorre le fonti e i frammenti superstiti per definire le caratteristiche del genere e i possibili metri in esso impiegati; l’analisi di Soph. Ai. 693-718; l’analisi di Soph. Trach. 205-224, seguita da alcuni confronti con altri tre corali drammatici (Eur. El. 585-595; Ar. Thesm. 953-1000; Eur. Ba. 1153-1167); l’analisi di tre canti sofoclei che, per diversi aspetti, possono essere ritenuti fortemente ‘mimetici’ e forse eseguibili secondo ‘modalità iporchematiche’ (Soph. El. 1384-1397; OC 1044-1095; OC 1447-1499); l’analisi di tre scene corali di ricerca nelle tragedie di Sofocle, di per sé estremamente mimetiche (Soph. Ai. 866-878; Phil. 201-218; OC 118-168). La terza e ultima sezione si occupa di due stasimi tragici che presentano alcuni stilemi formali propri dell’epinicio: essa è composta rispettivamente da un’introduzione al canto di vittoria, relativa al suo impianto formale e al suo uso in tragedia; dall’analisi di Eur. El. 859-879 (con un raffronto finale con il frammento di epinicio composto da Euripide per Alcibiade); dall’analisi di Soph. Trach. 633-662 (corredata da confronti testuali con i precedenti corali della medesima tragedia e altri brani di poeti lirici e di Euripide).This dissertation is structured into three macro-sections, two of which linked to a specific choral lyric genre (the main focus of these analyses) and preceded by a historical and methodological introduction, where the guidelines of this research are fully outlined. The first section aims at briefly synthetize the history of studies about three paths that constitute the methodological premise of this research: the concept of ‘literary genre’ in ancient Greece; the limits and goals of intertextuality, especially concerning the relationship between fifth-century Attic tragedy and archaic and classical choral lyric production; the validity and benefit of a textual analysis of tragic songs that focusses on metre and rhythm, using these elements as heralds of meaning, thus looking at the intersections of literary genres from a performative perspective. About this last point, many problems are taken into consideration, problems that were discussed in the critical debate so far: how to choose the ‘more reliable’ metrical pattern (the current debate around ancient colometry)? In what kind of relationship where the text, the metrical pattern, the rhythm and the music and what can we say starting from the two former in lack of the latter elements? The second section revolves around the so-called ‘hyporchematic songs’ in Sophocles’ drama and it consists of these chapters: an introduction to the hyporchematic genre, where the sources and fragments are used in order to retrieve the main features of the lyric genre and the most recurrent metres; the analysis of Soph. Ai. 693-718; the analysis of Soph. Trach. 205-224, followed by three comparisons with other dramatic songs (Eur. El. 585-595; Ar. Thesm. 953-1000; Eur. Ba. 1153-1167); the analysis of three Sophoclean choral songs which can be considered strongly ‘mimetical’ for different reasons, and thus could have been performed in a ‘hyporchematical way’ (Soph. El. 1384-1397; OC 1044-1095; OC 1447-1499); the analysis of three choral research-scenes in the tragedies of Sophocles, that are strongly mimetic "per se" (Soph. Ai. 866-878; Phil. 201-218; OC 118-168). The third and last section aims to analyse two tragic stasima where some writing styles typical of the victory ode are implied and it does so in three chapters: an introduction to the epinician genre, its formal features and its employment in tragedy; the analysis of Eur. El. 859-879 (with a final comparison with a fragment of the epinician ode composed by Euripides for Alcibiades); the analysis of Soph. Trach. 633-662 (followed by textual comparisons with the previous choral parts of the same tragedy and other lyric and Euripidean fragments).
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Su, Shin-I., et 蘇心一. « A Study of Dong-Po`s Lyric Poems Genre ». Thesis, 2017. http://ndltd.ncl.edu.tw/handle/wbgz3z.
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博士中國文化大學
中國文學系
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SU, Tungpo, a unique rounder literati in Song Dynasty, first presents his argument of “Write figurative cih depicting scenes; create freehand painting expressing cih spirit”, in his postscript on appreciating paintings. In fact, this argument reflects a precise image of himself as a writer. Far beyond “Write figurative Shih (poem) depicting scenes; create freehand painting expressing Shih spirit”, he demonstrated his performance in “Write figurative cih depicting scenes; create freehand painting expressing cih spirit” with many forms of paintings for his Cih works.SU, Tungpo enjoys writing calligraphy and creating ink painting with writing brushes partly out of his gifted talent in fine arts and party out of emersion in his father’s modeling and demonstration since his childhood. Having appreciated calligraphy works and ink paintings jointly with his father, SU, Hsun, during his childhood, he grew profound interest and developed insightful observation and appreciation skills. As a result, among all of his works in Shih and Cih created in the next years there is nothing short of the features of depicting the Sentiment and depicting the atmosphere seen in “Write figurative cih depicting scenes; create freehand painting expressing cih spirit” phenomena. Among his works are nothing short of Open and Deliberating, or Delicate in Feeling, or Neat and Orderly, and each work coming in one of a kind fashion. Simply put it is his variety in the features that makes his Cih works exceptional and indispensable. Even nine hundred years later, appreciating the heavenly painting atmosphere behind each of his Cih work always ranks as top choice for any reader experiencing a low mood. And it is why this study aims to study the various types of SU, Tungpo’s works referred to as “Write figurative cih depicting scenes; create freehand painting expressing cih spirit”
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Dupej, Holly. « Reprogramming the lyric : a genre approach for contemporary digital poetry / ». 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR38769.
Texte intégralRésumé :
Thesis (M.A.)--York University, 2008. Graduate Programme in Communications and Culture.Typescript. Includes bibliographical references (leaves 140-156). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR38769