Tesi sul tema "English poetry – French influences"
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Auger, Peter. "British responses to Du Bartas' Semaines, 1584-1641". Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:be0f89c2-c2e4-482d-ac8f-e867985ff72e.
Testo completoHiggins, Jennifer Anne. "English responses to French poetry 1880-1930 : translation and mediation". Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612206.
Testo completoWhitehead, S. G. "English pre-romantic and romantic influences in the poetry of V.A. Zhukovskii". Thesis, University of East Anglia, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380126.
Testo completoCox, J. N. "Dadaist, Cubist and Surrealist influences in settings by Francis Poulenc of contemporary French poets". Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375864.
Testo completoArmstrong, Robert A. "Gleanings in French Fields: A Formal Approach to the Translation of French Poetry". Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1587646850156205.
Testo completoOness, Chad. "Not grace exactly : an unanxious search for contemporary and Anglo-Saxon poetic influences /". free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9904863.
Testo completoCameron, Anne Louise. "The English translation of seventeenth-century French lyric poetry and epigrams during the Caroline period". Thesis, Durham University, 2008. http://etheses.dur.ac.uk/2531/.
Testo completoFord, John. "From poésie to poetry : remaniement and mediaeval techniques of French-to-English translation of verse romance". Thesis, University of Glasgow, 2000. http://theses.gla.ac.uk/2690/.
Testo completoLennane, B. Michael. "Cross-cultural influences on corrective feedback preferences in English language instruction". Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112502.
Testo completoSage, Geoffrey Brandon. "The muwashshah, zajal, and kharja : what came before and what became of them". Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/32454.
Testo completoMitchell-Foust, Michelle. "The five dreams of the body /". free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9821345.
Testo completoHazzard, Oli. "Trying to have it both ways : John Ashbery and Anglo-American exchange". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:87f922c5-79dc-4fd5-85dd-50c4a7661015.
Testo completoMoreno, Christine M. "Secrecy and Fear in Confessional Discourse: Subversive Strategies, Heretical Inquisition, and Shifting Subjectivities in Vernacular Middle English and Anglo-French Poetry". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354665293.
Testo completoBennett, Sarah. "The American contexts of Irish poetry, 1950-present". Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669957.
Testo completoBenedict, Mark Russell. "The Ministry of Passion and Meditation: Robert Southwell's Marie Magdalens Funeral Teares and the Adaptation of Continental Influences". Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/79.
Testo completoSarrafian, Chahab. "Influences de la poésie moderne française sur la poésie contemporaine persane : étude de l’oeuvre de Nâderpour, Honarmandi et Eslâmi-e Nodouchane". Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC021.
Testo completoIn this thesis, we have tried to show the influence of modern French poetry on three contemporary Iranians poets: Nâder Nâderpour, Hassan Honarmandi and Mohammad Ali Eslâmai-e Nodouchane. They have studied at Sorbonne University. Since the period of Mashroutiat or constitutional monarchy the modern poets like Nimâ have written the poems in “vers libres” following the French models. The Iranians, always attached to classical forms, didn’t like this form of “vers libres”. The role of theses three poets has been to prepare the ground to make accept “le vers libre” by the Iranian readership. These poets are grouped in semi-traditional group and they use the images and the themes of the modern French poetry, they have prepared the ground so that “le vers libres” will be well accepted in Iran.They have chosen, in the most of their poems, the continual quatrains “les quatrains continus”. They have tried to use the themes and the images that come principally from the poetry of Baudelaire, Rimbaud, Verlaine, Valéry, Prévert….These poets are considered like à “bridge” by which the Iranian cross the classical poetry to arrive to modern Persian poetry.They have sometimes changed the place of the rhymes following the French models. Sometimes they have integrated the “tercets”, “quintils” and “sizains” in their poetry among their “quatrains” and this can be considered as a French influence
Witney, John Clifford. "Lateral (morpho)syntactic transfer : an empirical investigation into the positive and negative influences of French on L1 English learners of Spanish within an instructed language-learning environment". Thesis, Birkbeck (University of London), 2014. http://bbktheses.da.ulcc.ac.uk/109/.
Testo completoHarris, Christopher. "The function of Andrew Lang and other minor poets of the 1970's and 1880's in the appropriation of pre-classical french poetry by the English literary canon". Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499818.
Testo completoHarris, Christopher. "Mediators and mimics- The function of Andrew Lang and other minor poets of the 1870s and 1880s in the appropriation of pre-classical french poetry by the English Literary canon". Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.511036.
Testo completoNakhaeï, Bentolhoda. "Critical Analysis of the Stylistic Transformations in the 19th and 20th-century English and French Translations of Omar Khayyám’s Rubáiyát : exploring the Common Quatrains in FitzGerald, Arberry, Nicolas, and Lazard". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA144.
Testo completoThis thesis aims to carry out a meticulous analysis of the transformation of form and meaning in the rendition of the Rubáiyát in four significant 19th and 20th-century translations—two in English and two in French. The translators of the selected translations are Edward FitzGerald, Arthur John Arberry, Jean-Baptiste Nicolas, and Gilbert Lazard. The translations produced by these translators have offered opportunities of investigation within linguistic boundaries. In fact, one may wonder if the translators have transformed the meaning and the form of the Persian quatrains. If so, which procedures have they employed? More precisely, how are the underlying networks of signification rendered by the most significant English and French translators of the 19th and 20th centuries? Furthermore, what is the quality of the writing in the target language in each translation? On the whole, this thesis seeks to appreciate whether the translators have been successful in understanding the significance of the subtext and the elegance of the poetic form of the Rubáiyát.This dissertation provides its readers with a scientific application of the theoretical concepts of different theorists in translation studies, linguistics, and literature. The most salient theories employed in the present research are those of Antoine Berman, Henri Meschonnic, Peter Newmark, Eugene Albert Nida, Susan Bassnett, Mona Baker, Geoffrey N. Leech, I.A. Richards, Roger T. Bell, George Lakoff and Mark Johnson, Michael Hanne, and Max Black. In addition, it must be indicated that this thesis sets out to create a balance between two poles in translation studies, i.e. target-oriented and source-oriented translations.The translation of Omar Khayyám’s Rubáiyát into Germanic and Romance languages is an interesting and controversial subject to discuss. This research seeks to prove that the study of the translations of the Rubáiyát can contribute to highlighting the difficulties and the impossibilities of the rendition of certain issues from Persian into English or French
Thompson, Martha. "George Canning, Liberal Toryism, and Counterrevolutionary Satire in the Anti-Jacobin". BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3714.
Testo completoGonzález, Ródenas Soledad. "Juan Ramón Jiménez y su biblioteca de Moguer: lecturas y traducciones de poesía en lengua francesa e inglesa". Doctoral thesis, Universitat Pompeu Fabra, 1999. http://hdl.handle.net/10803/83651.
Testo completoDesprés de l’inici de la guerra civil al 1936 Juan Ramón Jiménez abandonà Espanya deixant a Madrid tots els seu arxius i la seva biblioteca personal. En aquesta data la seva formació intel•lectual i estètica, iniciada a finals del s. XIX, es considera completa. Aquest estudi fa un recorregut de les circumstàncies viscudes pel poeta com a lector i traductor de forma paral•lela a l’adquisició de la seva biblioteca, avui dia conservada a la Fundación Zenobia-Juan Ramón Jiménez de Moguer (Huelva). Es fa un especial relleu dels seus fons en llengua francesa i anglesa, que van marcar el segell particular que va fer evolucionar la seva estètica de manera diferent a altres autors de la seva generació. L’estudi inclou, així mateix, un catàleg d’aquests fons.
After the breaking of the of the civil war in 1936, Juan Ramón Jiménez went away from Spain leaving behind all his files and his personal library in Madrid. By that time, his intellectual and aesthetic education, which began at the end of the 19th century, is considered complete. This study goes along the ups and downs experienced by the poet as a reader and a translator, in parallel with the acquisition of his library, which today is kept at the Fundación Zenobia-Juan Ramón Jiménez in Moguer (Huelva). Special relevance is given to his funds in the French and English language. They shaped the particular hallmark which made his aesthetics evolve in a different way from other authors of his generation. The study also includes a catalogue of these funds.
Buis, Emmanuelle. "Circulations libertines dans le roman européen : 1736-1803 : étude des influences anglaises et françaises sur la littérature allemande". Paris 3, 2008. http://www.theses.fr/2008PA030063.
Testo completoThis dissertation is a study of the influence of “gallant” libertine literature from England and France on German literary creation in the last three decades of the 18th century. The number of translations and critical commentaries which appeared at the time testifies to the successful impact in Germany of four novels of seduction, the very emblems of the genre, namely Clarissa Harlowe, Les Égarements du coeur et de l’esprit, Le Paysan perverti and Les Liaisons dangereuses. It is therefore legitimate to search for echoes of those works in the German production of the late 18th century. The survey of scientific evidence of the attention paid to those novels (openly acknowledged influence, critical comments or explicit marks of intertextuality) results in the selection of six German writers, also enthusiastic readers of the books, whose works display a reflection of the tradition of “gallant” libertine literature, viz. Christoph Martin Wieland, Sophie von La Roche, Wilhelm Heinse, Ludwig Tieck, Clemens Brentano and Jean Paul. The confrontation between the German novels and the “sources” reveals the presence of the main motifs of “gallant” libertine literature: typology of characters, strategy of seduction and key phases in the plot. Yet it is inseparable from a systematic use of distortion. The parody of a series of narrative techniques and the recourse to “perverted imitation” bear witness to a process of distanciation in which both the originality of the literary heirs and the specifically German sensibility of a fast expanding literature assert themselves. By giving new directions to certain fundamental principles of the libertine quest, the latest German works in the corpus alter the initial libertine doctrine and pave the way for new areas of existential questions, thus foreshadowing the disillusioned artistic figures of the 19th century
Kellett, Lucy. ""Enough! or too much" : forms of textual excess in Blake, Wordsworth, Coleridge and De Quincey". Thesis, University of Oxford, 2016. http://ora.ox.ac.uk/objects/uuid:641b0fe2-3b07-46cf-94b6-7d27a2878686.
Testo completoLangdell, 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.
Testo completoSedaghat, Amir. "Le soufisme de Roumi reçu et perçu dans les mondes anglophone et francophone : étude des traductions anglaises et françaises". Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA187/document.
Testo completoCalâleddin Mohammad Balxi or Rumi, a Persian mystical poet of the 13th century, is amongst the best known in the West and one of the most translated authors of Persian literature, especially in English. This is due to the abundance of his poetic works which consist of mystical and didactic Masnavi e ma’navi and a collection of lyrical qazals and quatrains, Divân e Şams e Tabrizi. He is also known and translated because of the relatively recent strong appeal of his poems, with their spiritual undertone, to the North American audience. Rumi’s poems appeared sporadically in German, English and French since the beginning of the 19th century until the full English translation of Masnavi in the early 20th century. Ever since, the English-speaking world has had waves of reception thanks to numerous retranslations and adaptations. In the French-speaking world, however, the reception of Rumi has been far less important: the majority of the translations were introduced in the second half of the 20th century and failed to find an equally enthusiastic audience. Despite numerous translations in both languages, transferring the poetic discourse of Rumi to French and English is a particularly complicated task, considering the specificities of Persian poetry and the mystical quality of his thought. In this study, we will first look into the principal obstacles that translators must surmount and we will work from linguistic, semiotic, stylistic, poetic, and hermeneutic perspectives. We will subsequently show how this transferring process has been carried out by French and English-speaking translators of various periods by applying the principles of Berman’s theory of translation ethics to their works. Working from a diverse bilingual corpus and using the sociolinguistic theories of translation, the present thesis intends to explain the differences in the level and nature of this reception in the two target cultural spheres
Lassahn, Nicole. ""Songes ... qui nesont mie mençongier" : historical content and fictional truth in dream poetry from the time of the Hundred Years War /". 2001. 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:3006522.
Testo completoNaicker, Dashen. "Unfamiliar shores : a collection of poetry with a self-reflexive essay component detailing the writing process and influences upon the poetry". Thesis, 2010. http://hdl.handle.net/10413/4647.
Testo completoCooley, Alice. "Get a Room: Private Space and Private People in Old French and Middle English Love Stories". Thesis, 2010. http://hdl.handle.net/1807/24728.
Testo completoMosoti, Edwin. "A comparative study of contemporary East and West African poetry in English". Thesis, 2012. http://hdl.handle.net/10539/11878.
Testo completoModern African poetry in English is a product of a number of literary traditions broadly categorised as either „indigenous‟ or „alien‟ to Africa. Working on the premise that these vary from one region to another, this study seeks to compare the myriad of poetic influences and traditions as manifested in contemporary East and West African poetry of English expression using a corpus of selected contemporary African poems. The contemporary era, here temporally defined as the post 1980s period, is typified by borrowing across literary genres and traditions to the point where the boundaries of what may be designated as „indigenous‟ or „alien‟ has become difficult to determine and distinguish. Core to my thesis is what Jan Ramazani (2001) designates as the hybrid muse, which ensures that contemporary poetry or poetic discourses explicitly or implicitly acknowledge that they are defined by their relationship to others, hence regarded as „epochal continuities‟ of foundational poetics. The study seeks to illustrate how creative writing, in particular poetic composition, emerging from the two regions exhibits affinities, parallels, as well as inter-connectedness despite the much emphasised disparities and peculiarities. Central to contemporary poetry examined in this study is „song‟ as a metaphor for its characteristic hybrid nature. The following chapters engage with different facets of song; from the praise song – hatched as a dirge in Chapter Two, mashairi as a Swahili sung poem tradition influencing poetry in written English in Chapter Three, what Osundare calls „songs of the season‟ in Chapter Four and how the experiment dialogues with journalistic discourses, song school and the different „Lawinos‟ singing in contemporary times in Chapter Five, through to Mugo‟s mother‟s poem and other songs in Chapter Six. Recent poetry from Africa is replete with and informed by diverse texts and intellectual discourses available to the poet in East or West Africa. Despite the much emphasized differences, I argue that there need not be explicit intertextual relations; that even when produced or consumed in tregion („solitary speaker‟), contemporary poetry still typically includes „language‟ or textual material derived not just from a „socially diverse discursive formation‟ but econo-political and intellectual environment underpinning the „other‟. The contemporary socio-political and economic conditions as well as various institutional parameters ensure that sharp differences in thematic preoccupations and aesthetic – are not as much as they may have been portrayed in “foundational poetry”. Considering the commonality in contemporary poetry issues from more or less the same pool of texts, intertextuality marking the era therefore evidences dialogues within and across the regions examined
Ricci, Roslyn Joy. "Changing approaches to interpretation: twentieth century re-creations of classical Chinese poetry". 2006. http://hdl.handle.net/2440/37853.
Testo completoThesis (M.A.)--School of Social Sciences, 2006.
Dyer, Kelly. "Light before midnight : a collection of poetry with reflexive documents regarding both the writing process and the writerly influences on this work". Thesis, 2007. http://hdl.handle.net/10413/1449.
Testo completoMcGeoch, Ellen. "Les Yeux de Paris: the act of looking and the visual in Baudelaire’s prose poetry". Thesis, 2012. http://hdl.handle.net/1959.13/940828.
Testo completoA finely-dressed man stands at the balcony of a Paris apartment, gazing at the city. Gustave Caillebotte’s 1875 painting Jeune homme à la fenêtre captures the man from behind and the viewer cannot see his face. He invites the viewer to observe him but he defiantly hides his identity. There is another figure in the scene, framed in the window and whom the dandy’s steady line of sight appears to meet. An unidentified woman stands on the empty boulevard, wearing a fashionable draped bustle skirt in a dark colour in contrast with the pale architecture. She is unaware of her audience, but through this framing and the eye sight of the man at the window, the viewer is drawn to her. Other artworks of the era show the streets of Paris writhing with activity but here all distractions are removed; the lone man gazing at the lone woman on the street is the only interaction, the only sign of life in the work. Whereas the man is safe in his anonymity, a willing and active observer, the woman becomes an exposed art object, unwillingly gazed at and evaluated not only by the man at the window, but the artist himself and the multitude of art gallery visitors who continue to gaze upon her. The painting is an urban landscape and a portrait of two strangers, a man looking and a woman being seen. One is placed on the streets and the other above them, tucked away in his own, contained piece of the city. The piece is also an artwork about the nature of selecting, containing and framing of objects essential to the artistic process, and the inherent hierarchy of the artistic gaze which searches and judges. Several of the concepts in Caillebotte’s painting can be found in Charles Baudelaire’s collection of prose poetry, Le Spleen de Paris: Petits Poèmes en prose, published posthumously in 1869. Both are defined by the act of searching and looking for art’s sake, relying on this hierarchy of the dominating voyeur and dominated object. The following thesis discussion is concerned with the visual processes and the narrator’s gaze in the work. It is of great significance that Baudelaire engaged in both poetry and art criticism; the two are intertwined and at times interchangeable. Given the focus on the visual register, as well as Baudelaire’s active role in the art world, the discussion of the visual processes and themes of the prose poetry alongside nineteenth-century fine artworks serves to establish new inter-disciplinary connections. The collection’s themes and innovations frequently overlap with those being made in fine art during the same time, and although a historical reading of the texts is not the focus, together they serve to contextualise the role of the artist and his gaze, the nature of the modern city and artistic poetic priorities at the time. Baudelaire’s own influential art criticism can be seen as a theoretical outline for his own creative pursuits. In Baudelaire’s prose poetry, the visual register, fine art and concepts of modernity intersect with the written word, and the collection can be seen as a literary incarnation of a visual act.
Slaska-Sapala, Kalina Irena. "Negotiating fate : John Milton's recreation of the Homeric and Virgilian model of divine intercession". Master's thesis, 2012. http://hdl.handle.net/1885/149841.
Testo completoPost, Andy. "Political Atheism vs. The Divine Right of Kings: Understanding 'The Fairy of the Lake' (1801)". 2014. http://hdl.handle.net/10222/50412.
Testo completoA close reading of an all-but-forgotten Arthurian play as an allegory against the Divine Right of Kings.