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El-Shaer, Mohamed Sharaf. "Mysticism in the poetry of Kathleen Raine". Thesis, Durham University, 1987. http://etheses.dur.ac.uk/1687/.
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Bradley, Arthur Humphrey. "Reading Shelley negatively : mysticism and deconstruction". Thesis, University of Liverpool, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263790.
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Davidson, Toby, i tdavidso@deakin edu au. "Born of fire, possessed by darkness : mysticism and Australian poetry". Deakin University. School of Communication and Creative Arts, 2008. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20090218.124155.
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This dissertation is structured around five Australian mystical poets: Ada Cambridge,
John Shaw Neilson, Francis Webb, Judith Wright and Kevin Hart. It examines the
varieties of Western Christian mysticism upon which these poets draw, or with which
they exhibit affinities. A short prelude section to each chapter considers the thematic
parallels of their contemporaries, while the final chapter critically investigates
constructions of Indigeneity in Australian mystical poetry and the renegotiated
mystical poetics of Indigenous poets and theologians.
The central argument of this dissertation is that an understanding of Western
Christian mysticism is essential to the study of Australian poetry. There are three
sub-arguments: firstly, that Australian literary criticism regarding the mystical
largely avoids the concept of mysticism as a shifting notion both historically and in
the present; secondly, that what passes for mysticism is recurringly subject to poorly
defined constructions of mysticism as well as individual poets use of the mystical
for personal, creative or ideological purposes; thirdly, that in avoiding the concept of
a shifting notion critics have ignored the increasing contribution of Australian poets
to national and international discourses of mysticism.
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Gillett, R. M. "'Mysticism', 'myth' and 'magic' in the poetry of Alfred Mombert and Oskar Loerke". Thesis, University of Cambridge, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.233945.
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The aim of my dissertation, far from being narrowly comparative, is to construe the similarities between Mombert and Loerke as symptons of a common predicament, while providing a full and fair account of their poems. I have therefore examined the appropriateness and implications of three terms often applied to both and carefully investigating specific passages of poetry. The first chapter, on Mombert, is divided into three parts. The first begins with a consideration of 'Incipit Creatio' and touches on Mombert's vocation and his style before investigating the similarities of theme and imagery which link him and mysticism. The second section is based on a close interpretation of Der Sonne-Geist, from which more general conclusions are drawn about the relations between Mombert's dreams and various mythological traditions. The third section is anchored in a virtual fairy-tale from Mombert's last work and devoted to an investigation of 'magic' in which the absence of a recognised body of pre-defined material is supplied by abbreviated literary-historical references to Novalis and Júger. The second chapter, on Loerke, has the same structure. The poems stressed are 'Mystische Sicht', 'Gott' and 'Die Einzelpappel' for mysticism; 'Das Schweigen auβer der Welt', 'Schnellen' and 'Kleine Erzfigur des Osiris' for myth; and 'Die Vogelstraβen' and 'Keilschrift-zylinder' for magic. And the conclusions are that the terms 'mysticism' and 'myth' are inappropriate because they imply a binding metaphysical certainty which both poets vainly sought to recapture; that the term 'magic' can be, and since romanticism has been, applied to precisely this problem; that its overtones of invocation and transformation sum up the aims and poetic techniques of both poets; and that Loerke, though he seems more modern than Mombert and could no longer make the same grandiose gestures, was nonetheless writing for substantially the same reasons and in much the same way.
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Brewer, Benjamin. "Poetry and Ecstasy: Thinking Bodily with Heidegger and Bataille". Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19323.
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This essay explores the possibilities for thinking of the body as a site of exposure to and commingling with the world. I begin with Martin Heidegger’s engagement with the question of poetry as an encounter with the non-conceptual dimension of experience (earth). I then show how the disclosure of this non-conceptual dimension of experience in poetry requires an irreducibly bodily form of thought and experience.
In the second chapter, I turn to the work of Georges Bataille in order to explore the bodily experiences and meditative practices he developed in the decades around and during World War II. First, I examine his writings concerning eroticism and laughter to show how these bodily experiences exceed conceptual determination and explanation. Lastly, I look at Bataille’s appropriation of medieval mystic Angela of Foligno’s practice of stigmatic meditation as a discipline of bodily exposure.
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Alotaibi, Nada Abdullah. "The making of an aesthetic and ineffable 'mysticism' in Victorian poetry and poetics". Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/13400/.
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Relying on a constructivist framework of analysis drawn from the disciplines of Philosophy, Religious Studies, and History, this thesis examines the contribution of Victorian poetry and poetic theory to the modern construction of ‘mysticism’ as an aesthetic and ineffable category. My analysis is guided by the Foucaultian notion that any definition of a given concept reflects issues of authority, which I use to propose that, in the increasingly secularized milieu of nineteenth-century culture, many Victorian intellectuals sought to assert the ineffability and aesthetic character of mysticism as part of a larger nineteenth-century search for an authoritative place for poetry. With a special focus on the writings of Thomas Carlyle and James Thomson (B. V.), the problematization of mysticism I offer here spans the period between the mid-1820s and 1880s, a relatively broad context that allows me to draw connections among various poets, critics and their works, and weave these into a readable narrative where mysticism figures as a key player in the collective aesthetic consciousness of an age. Chapter I of this thesis establishes the conceptual and theoretical parameters of the debate informing the constructivist method I employ, with the aim of offering a critique of previous literary scholarship on Victorian poetry that adopts mysticism as a primary analytic category. I argue that such scholarship largely bases its analysis on essentialist definitions, and often ends up being ideologically exclusionary. Chapter II provides a detailed look at the conceptual overlap between mysticism and poetry in both Modernist and Victorian discourse for the purpose of establishing that modern mysticism is fundamentally a poetic and aesthetic construct, one that was shaped by the nineteenth-century discourse on poetry and art. Situating Carlyle’s discourse on mysticism within that of other contemporary figures, Chapter III examines his leading role in the nineteenth-century conceptual transformation of ‘mysticism’ from a term that was pejoratively used to signify ‘unintelligibility’ to one that was used to denote the transcendental legitimacy of poetry. Chapter IV traces Thomson’s career-long engagement with mysticism along his religious and intellectual development from a theist to a self-proclaimed atheist, arguing that it reflects on a larger scale the history of mysticism’s development in the second half of the Victorian age: how its Romantic appropriation in the mid-nineteenth century was especially freighted with religious meanings, and how this would gradually change at the turn of the century, where it would become more open to secular and naturalistic interpretations.
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Marsden, Steven Jay. ""Hot little prophets": reading, mysticism, and Walt Whitman's disciples". Texas A&M University, 2004. http://hdl.handle.net/1969.1/1213.
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While scholarship on Walt Whitman has often dealt with "mysticism" as an important element of his writings and worldview, few critics have acknowledged the importance of Whitman's disciples in the development of the idea of secular comparative mysticism. While critics have often speculated about the religion Whitman attempted to inculcate, they have too often ignored the secularized spirituality that the poet's early readers developed in response to his poems. While critics have postulated that Whitman intended to revolutionize the consciousness of his readers, they have largely ignored the cases where this kind of response demonstrably occurred.
"Hot Little Prophets" examines three of Walt Whitman's most enthusiastic early readers and disciples, Anne Gilchrist, Richard Maurice Bucke, and Edward Carpenter. This dissertation shows how these disciples responded to the unprecedented reader-engagement techniques employed in Whitman's Leaves of Grass, and how their readings of that book (and of Whitman himself) provided them with new models of identity, politics, and sexuality, new focuses of desire, and new ways in which to interpret their own lives and experiences.
This historicized reader-response approach, informed by a contexualist understanding of mystical experience, provides an opportunity to study how meaning is created through the interaction of Whitman's poems and his readers' expectations, backgrounds, needs, and desires. It also shows how what has come to be called mystical experience occurs in a human context: how it is formed out of a complicated interaction of text and interpretation (sometimes misinterpretation), experience and desire, context and stimulus.
The dissertation considers each disciple's education and upbringing, intellectual influences, habits of reading, and early religious attitudes as a foreground to the study of his or her initial reaction to Leaves of Grass. Separate chapters on the three figures investigate the crises of identity, vocation, faith, and sexuality that informed their reactions. Each chapter traces the development of the disciples' understanding of Whitman's poetry over a span of years, focusing especially on the complex role mystical experience played in their interpretation of Whitman and his works.
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McCullough, Eleanor G. ""Except you ravish me" [microform] : the images of Christ as courtly knight, bridegroom, and mother of the soul as woven through the religious love lyric "In a valey of this restles mynde" /". Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p048-0326.
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Kouakou, Kouassi ange-valery. "La quête spirituelle dans la poésie française de 1918 à 1945 (Jouve, Bataille, Valéry)". Thesis, Clermont-Ferrand 2, 2013. http://www.theses.fr/2013CLF20011/document.
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Traversé par une insatiable soif de spiritualité et de liberté, le XXe siècle est connu pour être celui de la « Mort de Dieu » ou plus explicitement celui du repositionnement de l’homme au centre du divin. C’est dans l’élan de modernité, de renouvellement spirituelle, donc de rejet de toute sorte de tradition religieuse que s’inscrit l’expérience poétique de Pierre Jean Jouve, Georges Bataille et Paul Valéry.Alors que rien ne semble a priori les réunir, ces trois poètes aux idées divergentes et souvent opposées, un croyant iconoclaste et hétérodoxe, un athée hanté par la quête du sacré et un pur rationaliste à la recherche de son « Dieu », ont fait de l’univers de la poésie un lieu de questionnement, d’exploration profonde de l’intériorité et de quête de soi. A travers une extase à la fois poétique et mystique qui fait le lit à l’éros, à l’amour, à la musique et à la mort dans une sorte de jonction entre Immanence et Transcendance, il se dessinent de nouvelles voies d’expérimentation spirituelle qui érigent ces poètes en véritables prophètes de leur époqueCrossed by insatiable one thirst of spirituality and freedom, the XXth centuryis known to be the one of «God’s Death or more explicitly that repositioning of theman in the center of the divine. It is in the moose of spiritual modernity, of renewal,thus various rejection of religious tradition that joins the poetic experience of PierreJean Jouve, Georges Bataille and Paul Valéry. While nothing seems to gather them, these three poets in the divergent andoften set ideas, an iconoclastic and heterodox believer, an atheist haunted by the questof the sacred and a pure rationalist in search of his "God", made of the universe of the poetry a place of questioning, deep exploration of the interiority and quest of one.Through an ecstasy at the same time poetic and mystic which makes the bedfor éros, love, music and death in a junction of Immanence and Transcendence, it take shape new ways of spiritual experiment which set up these poets as real prophetsof their time
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Acker, Elizabeth Anne. "God in the Darkness: Mysticism and Paradox in the Poetry of George Herbert and Henry Vaughan". [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0720101-152602/unrestricted/ackera0808a.pdf.
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Kari, Jacqueline E. "Drunk the Milk". Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1282870734.
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Holladay, Zachary. "Poetry and Ritual: The Physical Expression of Homoerotic Imagery in sama". [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002564.
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Paddock, Virginia Lee. "Madness as metaphor : a study of mysticism in the life and art of Emily Dickinson". Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/762988.
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The present study establishes a more full and accurate understanding of the importance of mysticism in the art and life of Emily Dickinson, and shows that because of the physiological changes endured by the mystic and the unique relationship between mysticism and madness, what might be read literally as madness (psychosis) in Dickinson's poems should be seen as a metaphor for the dark counterpoint of the mystical cycle.Chapter One establishes a necessary background on mysticism and discusses the effects of mystical experience on the mind and body of the mystic. As the mystic undergoes spiritual purification, she will be changed physiologically because the central nervous system has to be cultured and strengthened to withstand the changes created by the transcendental level of consciousness.Chapter Two chronologically documents Dickinson's mystical achievement, using her letters as the primary source and Evelyn Underhill's five stages of mystical development as the base of measurement. Dickinson achieved the first mystic life-Awakening, Purgation, and Illumination. Hints of the Dark Night of the Soul may be seen in her later years, but there does not appear to be firm evidence that it was ever fully established. Oscillating between states of pain and pleasure throughout her life, she did not achieve the perfect serenity, peace, and certitude that characterizes Union. Chapter Three examines the symbiotic relationship between mysticism and madness, to show that they share a common source and the end result depends on the preparedness of the individual. Chapter Four examines selected poems, written from 1859-65, from the perspective that Dickinson is a mystic describing mystical experience rather than a psychotic describing insanity. Chapter Four, as does Chapter Three, refers to the interpretation of Dickinson's poetry made by the Freudian psychiatrist, Dr. John Cody, because his interpretation has made the strongest argument for literal madness in Dickinson's work. Chapter Three shows the insufficiency of the argument to explain Dickinson, other mystics, and two of the parallel cases Cody used to support his thesis; Chapter Four demonstrates the same insufficiency when applied to Dickinson's poems of madness, terror, and despair. Chapter Five briefly examines the relationship between Dickinson, the mystic, and Dickinson, the poet.Department of English
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Yoo, Baekyun. "Religion and Politics in the Poetry of W.B. Yeats". Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278080/.
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Previous critics have paid insufficient attention to the political implications of Yeats's life-long preoccupation with a wide range of Western and Eastern religious traditions. Though he always preserved some skepticism about mysticism's ability to reshape the material world, the early Yeats valued the mystical idea of oneness in part because he hoped (mistakenly, as it turned out) that such oneness would bring Catholic and Protestant Ireland together in a way that might make the goals of Irish nationalism easier to accomplish. Yeats's celebration of mystical oneness does not reflect a pseudo-fascistic commitment to a static, oppressive unity. Like most mystics—and most modernists—Yeats conceived of both religious and political oneness not as a final end but rather as an ongoing process, a "way of happening" (as Auden put it).
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Machín-Lucas, Jorge. "La espiral ontológica e intertextual en la poesía de José Ángel Valente: creación poética y búsqueda íntimo-mística en los albores de la premodernidad". The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1115931846.
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Tee, Caroline. "Mysticism and identity amongst the Alevis in Turkey : a study of flexibility and adaptation in the aşık poetry of an eastern Alevi ocak". Thesis, University of Bristol, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.559494.
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In this thesis, I investigate a minority Muslim group in Turkey called the Alevis. Particularly, I explore the way in which one Alevi group, the Dervis Cemal Ocak from Erzincan, is currently in the process of reformulating its religious traditions and rethinking its identity as it seeks to define a place for itself in contemporary Turkish society. I explore and analyse the group's decision to align itself with one of the more state- conciliatory of the national Alevi organisations, the Cem Vakfi, and investigate how the Dervis Cemal Ocak is seeking to engage with, rather than distance itself from, the official criteria for belonging to the Turkish nation: namely, Turkishness and self-identification as Muslim. I investigate the oral history ofthe group, focusing on the lives and miracle stories attributed to its early forefathers and the sacred sites associated with them in western Anatolia, and consider the role these narratives are playing in the codification ofthe group's history and identity today. I approach the major part of my study through the medium of astk poetry, which is a central feature of the Alevi tradition. I explore the life-story and poetry of Ozan Seyfili, a prominent astk. from the Dervis Cemal Ocak, and analyse the changes that the Alevi community went through in the 20th century, as well as the current revival activities, through the lens of his poetry and associated commentaries. I consider the nature of Alevi mysticism, through analysis of the way in which Ozan Seyfili draws on Persian Sufi imagery in his poetry as well as through ethnographic research into the traditional religious practices of the Dervis Cemal Ocak before the fragmentation brought about by mass migration. I consider the way in which Alevi mysticism is changing in the urban setting and conclude with a discussion of the possibilities for how the Alevis might organise themselves as a socio-religious community in the future.
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Machin-Lucas, Jorge. "La espiral ontologica e intertextual en la poesia de Jose Angel Valente creacion poetica y busqueda intimo-mistica en los albores de la premodernidad /". Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1115931846.
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Rassekh, Chohre. "Mystical poetry of Jalaloddin Rumi and Jacopone da Todi : A comparison". Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/28268.
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"Mystical poetry of Jalaloddin Rumi and Jacopone da Todi: A comparison" attempts to analyze and prove the possibility of a comparison of mystical poetry of the Eastern and Western traditions.
The consciousness of the One (which is ineffable) is the goal of the mystical experience. This experience finds its expression in the following ways: 1- By affirming its ineffability through the insufficiency of words (the negative way does not exist in complete separation from the affirmative). 2- By relying on imagery and symbols drawn from the phenomenal world and translating abstract concepts into terms that men can understand.
The purpose of this dissertation is to prove that Jacopone da Todi's and Jalallodin Rumi's use of poetic imagery from physical reality is the best expression of their mystical quest. Poetry for Jacopone and Rumi, through metaphorical presence, becomes a vehicle toward Reality.
The introduction investigates the historical setting and Rumi's and Jacopone's lives in relation to the cultural environment of the time.
The first chapter discusses and defines the concept of mysticism and emphasizes the importance of two fundamental ideas in every type of mysticism: the ideas of Love and Transformation.
The second chapter discusses the concept of love as used by Jacopone and Rumi in their poetry. Love is seen as a gift; man in his weakness would never be able to attract it or reject. Love is also seen as frenzy and passion, hence the use of images from even the most intimate sphere of life and from sensual love. The chapter, through close analysis of different texts, will also explore the relation between earthly love and spiritual love.
The third chapter demonstrates how the concept of transformation, essential to spiritual growth, is developed in the poetry of Jacopone and Rumi through the use of imagery. The symbols of the Cross for Jacopone and of Fire for Rumi are used as examples of purification and growth through sacrifice: "What is poor brushwood when it falls into the fire? Is not the brushwood transformed into a spark by the fire"?
The fourth chapter presents a thesis on the language of mysticism or the "mystical lexicon" found in the two poets analyzed despite the apparent lack of any interdependence between them or dependence by them on a common source.Arts, Faculty of
English, Department of
Graduate
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Hoover, Michelle R. "The Fool and the Flood: A Journey". ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2464.
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This journey based narrative inspired by the traditional narrative of the Major Arcana cards in the tarot, centers on The Fool and his interactions with the rest of the Major Arcana. The Fool’s journey centers on memory, regaining personal power, admitting and accepting weakness, and creating a personal place in relation to a larger world. This evolution throughout the journey is explored through detailed repeating imagery and symbols drawn from a mixture of traditional tarot imagery and the author’s personal image set created for this narrative.
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Silva, Jackson Leocadio da. "A Bíblia do Inferno de William Blake: visão como força imaginativa". Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/4480.
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A presente dissertação tem como objetivo central a compreensão da estética particular da obra de William Blake (1757 – 1827), caracterizada por uma combinação de visualidade e discurso místico. Como Blake era um poeta-gravurista, o casamento entre texto e imagem é o aspecto mais notável das páginas que compunha através da sua técnica peculiar de impressão. As devidas análises serão feitas a partir de uma determinada seleção de obras compostas pelo poeta, levando-se em conta a sua filosofia particular, estabelecida em O casamento do céu e do inferno (1790), e a sua própria mitologia, cuja amostra é representada por uma tríade de poemas que podemos chamar de ―os livros de Urizen‖: O primeiro livro de Urizen (1794), O livro de Ahania (1795) e O livro de Los (1795). Serão analisadas não apenas passagens de seus poemas, mas também determinadas imagens destacadas desses poemas, tanto na categoria das ilustrações quanto na categoria das iluminuras. As discussões teóricas abordarão os seguintes tópicos: a noção de profecia como gênero literário, a relação entre o discurso blakiano e as heresias gnósticas, as particularidades da iconofilia blakiana, a tensão entre monismos e dualismos na obra de Blake, assim como a filiação do poeta à tradição dos pensadores místicos e sua relação com a própria tradição literária. O eixo conceitual em torno do qual se desenvolve esta dissertação está na chamada Bíblia do Inferno, ideia satírica que o poeta-gravurista concebeu como um símbolo estético de sua própria postura em relação aos moralismos religiosos.
The central goal of the present dissertation is to understand the particular aesthetics of the works composed by William Blake (1757 – 1827), characterized by a combination of visuality and mystical discourse. As Blake was a poet-engraver, the marriage of text and image is the most remarkable aspect of the pages he composed through his peculiar printing technique. The proper analyses will be carried out from a specific selection of Blake‘s works, considering his particular philosophy, established in The Marriage of Heaven and Hell (1790), and his own mythology, whose sample is represented by a trio of poems that we can call ―the books of Urizen‖: The First Book of Urizen (1794), The Book of Ahania (1795) and The Book of Los (1795). Not only passages from his poems will be analyzed, but also specific images from these poems will be examined, both illustrations and illuminations. The theoretical discussion will approach the following topics: the notion of prophecy as a literary genre, the relationship between the Blakean discourse and the Gnostic heresies, the particularities of the Blakean iconophilia, the tension between monism and dualism in Blake‘s work, as well as the affiliation of the poet to the tradition of mystical thinkers and his relation to the literary tradition itself. The conceptual axis around which this dissertation will be developed is the so-called Bible of Hell, a satirical idea conceived by the poet-engraver as an aesthetic symbol of his own posture towards the religious morality.
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Pereira, Natasha Juliana Mascarenhas. "Sob os véus, a existência descontínua: erotismo e epifania na poesia de Manuel Bandeira". Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4187.
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Fundação de Amparo à Pesquisa do Estado do Rio de JaneiroConsiderando a extensa e intensa abordagem da temática erótica na poesia de Manuel Bandeira, a pesquisa visou à ampliação e ao aprofundamento do estudo desse aspecto de sua obra, com o intuito de complementar os estudos críticos que versam sobre o assunto. Nosso objetivo concentra-se na relevância do conceito de alumbramento, termo empregado em diferentes ocasiões pelo poeta. Essa palavra, que o autor emprega na sua autobiografia e em duas de suas composições, alude, simultaneamente, a uma espécie de revelação divina, capaz de proporcionar a inspiração para a criação do poema, e a uma iluminação resultante do estado de deslumbramento diante da visão da nudez feminina. Dessa forma, com base, sobretudo, nas ideias de Octavio Paz e Georges Bataille, bem como nos apontamentos específicos de Davi Arrigucci Jr. sobre o lirismo bandeiriano, buscamos comprovar, por meio da leitura analítica de poemas exemplares, a associação entre os êxtases erótico, poético e místico, como questão fundamental na obra do poeta pernambucano
Taking into account the extensive and intense presence of the erotic topic in Manuel Bandeiras poetry, this research aims to expand and deepen the study about this aspect of his literary work in order to complement the critical studies that approach this theme. Our objective focuses on the relevance of the concept of enlightenment, a term used by the poet in different contexts. This word, present in the autobiography of the author and in two of his poems, alludes, simultaneously, to a kind of divine revelation capable of providing the inspiration for writing and to an illumination, resultant of a state of dazzle at the vision of a womans nudity. Thus, based mainly on the ideas of Octavio Paz and Georges Bataille, as well as on David Arrigucci Jr.s specific comments about Bandeiras lyricism, we intend to show, by means of an analytical reading of representative poems, the link between the erotical, poetical and mystical ecstasies as a key topic of this authors literary production
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Sousa, Celia Soares de. "Mística cristã e poesia nas obras de Murilo Mendes". Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/18332.
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Previous issue date: 2013-10-24The following dissertation has as an objective to contribute to the theological thinking on the already existing dialogue between Theology and Literature. It sought to promote a relation between Murilo Mendes s poetry and Christian mystical, focusing in an interpretive reading of his poetry, where are affirmed not just the quality of it, but also his reading of the human and the divine. Murilo Mendes s poetry, which abundantly talks about God, God s words, religiosity, Christianity and about the Person of Jesus, marked the human theme from the approach through the literary universe. We found the urgency of the mystical rediscovery for an experience more compromised with the Reign of God, to come out of the inertia and dive into mystery, acknowledge that we need the loving presence of Christ in our days to face with tenderness, but also with firmness, the challenges that modernity imposes to us
A presente dissertação tem como objetivo contribuir com a reflexão teológica a partir do diálogo já existente entre Teologia e Literatura. Buscou promover uma relação entre a poesia de Murilo Mendes e mística cristã, focando em uma leitura interpretativa da sua poesia onde se afirmam não apenas a qualidade da sua poesia, mas sua leitura do humano e do divino. A poesia de Murilo Mendes que abundantemente trata de Deus, da Palavra de Deus, da religiosidade, do cristianismo e da Pessoa de Jesus marcou a temática humana a partir da abordagem pelo universo literário. Constatamos a urgência da redescoberta da mística para uma vivência mais comprometida com o Reino de Deus para sair da inércia e mergulhar no mistério, tomar consciência que precisamos da presença amorosa do Cristo no nosso no cotidiano para enfrentar com ternura, porém, com firmeza, os desafios que a modernidade nos impõe
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Wallerich, Nazanin Leila. "Melancholy and the Infinite Sadness: A Mental Therapy Retreat". Thesis, Virginia Tech, 2013. http://hdl.handle.net/10919/51162.
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In America alone, 19 million people live with depression. Untreated depression is the leading cause of suicide in the United States and the third leading cause of death between 18-25 year olds. The aim of the project was guided based on the idea that we could take sadness as a manifestation in order to allow the possibility of controlling and manipulating it. The idea was based on a well documented understanding that melancholia creates a permeable boundary between consciousness and unconsciousness. In melancholia there is an internalization of behaviors that insulate and isolate the individual. With this level of introspection also comes an underlying gift of deep passion, curiosity and cognition. This gift brings a deep understanding to the workings of the world. It is in this dual reality that lies a realm of complexity and possibility. This understanding of depression led me to believe in how powerful and how necessary the simple yet essential feeling of hope was. The concept of hope seems like an illusion but sometimes it\'s the only thing you have. The hope is what keeps you going and allows a tangible identity to sanity. How can architecture reflect hope and how can a space help the weary hearted? These questions pleaded for answers and this thesis is a result of the search. The search for a better place in our minds. The desire for a hope that we are not prisoners to our sadness
The quest for answers laid its journey on a cliff edge on the Olmsted Island of Great Falls, MD ; a site amplified with majestic soaring views and soundscapes of water and nature that accentuate the program of an alternative mental therapy retreat.Master of Architecture
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Dubrau, Alexander. "Shmuel Safrai u.a. [Hg.], The literature of the sages, second part: Midrash and Targum, liturgy, poetry, mysticism, contracts, inscriptions, ancient science and the languages of rabbinic literature / [rezensiert von] Alexander Dubrau". Universität Potsdam, 2007. http://opus.kobv.de/ubp/volltexte/2008/2235/.
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Rezensiertes Werk:
The literature of the sages : second part; Midrash and Targum; Liturgy,
poetry, mysticism, contracts, inscriptions, ancient science and the languages
of rabbinic literature / Shmuel Safrai ... [Hg.]. - Assen : Royal Van Gorcum/Fortress Press, 2006. - XVII, 722 S. - (= Compendia rerum Iudaicarum ad Novum Testamentum, Section 2: 3/2)
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Alguiz, Yassin. "Dimensions spirituelles de la poésie de Léopold Sédar Senghor et de Mohamed Al Faytouri". Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30001.
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Cette thèse est une étude comparative entre L. S. Senghor, poète sénégalais d’expression française, et Mohamed Al-Faytouri, poète soudano-libyen d’expression arabe. Elle consiste à révéler et comparer les dimensions spirituelles de leurs poésies. Elle vise également à mettre en évidence la multivalence de la quête qui est indissociable de leur écriture. Leurs œuvres s’articulent sur les rapports féconds et ambigus entre l’humain et le divin, le matériel et le spirituel, les vivants et les morts, le visible et l’invisible. La démarche critique suit les deux poètes dans leur aventure poético-spirituelle qui correspond à la trajectoire du mystique à la recherche du surréel et de l’absolu. La poésie senghorienne se nourrit du souffle animiste et de l’esprit chrétien. La poésie faytourienne est marquée par la spiritualité soufie et par la mystique africaine. Elle renferme aussi des allusions animistes et chrétiennes.Quel que soit le degré d’originalité propre à chacun d’eux, ils ont en commun des thèmes qui forment un ensemble cohérent. Leurs poèmes sont intrinsèquement imprégnés du mysticisme africain qui se manifeste dans l’omniprésence des Esprits et des Ancêtres. Les deux poètes ont le même désir de retourner aux origines, de réintégrer l’innocence originelle et d’entrer en communion avec le sacré ; ils ont la même aspiration à une pureté qu’ils cherchent dans une voie jalonnée de difficultés. Ils s’efforcent de sonder le sens de l’existence et de vivre en harmonie parfaite avec le cosmos. Ils recourent à la médiation de la femme, de la musique, de la nuit et de la nature afin d’établir la communication avec l’univers intime et secret de l’invisibleThis thesis concerns a comparative study between Senghor; a Senegalese poet who writes in French and Mohamed AL-Faytouri, half Sudanese half Libyan poet who writes in Arabic. It targets comparing the spiritual dimensions of their poems. Furthermore, it aims to show the multiple meanings of the quest that cannot be separated from their poems. Their writings describe the search of unity between human and divine, material and spiritual, the living and the dead and finally visible and invisible. Our critical approach would follow the poetic and spiritual adventure of both poets regarding their search for the surreal and the absolute. Senghor's poetry is influenced by the animist and Christian spirituality, while Faytouri’s poetry is inspired by the Sufi spirituality and by African mysticism.In spite of their different origins, they use the same themes that complete each other in establishing a coherent form. The two poets have the same desire to return back to the origins, find the original innocence and have the mystical union. Their search for “purity” in human nature is surrounded by danger. They aim to emphasis on the idea of living in perfect coherence with the Universe. Last but not least, the poets refer to woman’s mediation, music, night and nature to communicate with the intimate and the secret of the invisible
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Néné, Paolo Alexandre. "Ici et ailleurs. Horizons, mouvements et écriture dans la poésie de Daniel Faria". Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA162.
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Daniel Faria (1971-1999) est l’auteur de trois livres de poésie, Explicação das Árvores e de Outros Animais ; Homens que São Como Lugares Mal Situados et Dos Líquidos, publiés pour la première fois chez un éditeur à la visibilité réduite, Fundação Manuel Leão. L’intérêt littéraire de son œuvre est avéré, mais cette dernière souffre encore d’un manque d’attention. Entre la perspective théologique qui tend à épuiser l’œuvre, à la circonscrire, les lectures passionnelles où il n’est plus question de la poursuite d’un sens, de la quête de la dimension herméneutique, et quelques articles littéraires, la poésie de Daniel Faria accuse, du point de vue du travail universitaire, un réel déficit. Pour lever l’indétermination dans laquelle se trouve la poésie de Daniel Faria et ainsi échapper aux risques d’une extension de lectures qui tendent, avec précipitation, vers l’idée première d’une œuvre incompréhensible, sensible en cela à la seule question de l’expérience du transcendant, notre étude se propose de suivre la démarche herméneutique qui garantit le statut fondamental d’altérité du texte. L’objectif est dès lors relativement clair : soustraire l’œuvre poétique de Daniel Faria de toute expérience affective, resituer sa poésie, la repositionner dans le champ des études littéraires pour enfin arriver à une lecture plus pertinente de son œuvre, au plus près de la vérité textuelle de l’œuvre. Tel est l’enjeu de cette étude : préciser la portée de cette poésie, en soulignant la constance et la cohérence d’une réflexion qui associe expérience poétique et expérience mystique, et élucider leurs rapports sans déposséder l’expérience mystique de son essence propreDaniel Faria is the author of three books of poetry, Explicação das Árvores e de Outros Animais ; Homens que São Como Lugares Mal Situados et Dos Líquidos, published for the first time at a editor at the reduced visibility, Fundação Manuel Leão. The literary interest of its work is proved true, but the latter still suffers from an inattention. Between the theological prospect which tends to exhaust the work, to confine it, the passionate readings where it is not any more question of the pursuit of a sense, a quest of the hermeneutic dimension, and some literary articles, Daniel Faria's poetry accuses, from the point of view of the university work, a real deficit. To raise the indecision in which is Daniel Faria's poetry and so to escape the risks of an extension of readings which aim, with haste, towards the first idea of an incomprehensible, sensitive work in it at the only question of the experience of the transcendent, our study suggests following the hermeneutic approach which guarantees the fundamental status of otherness of the text. The objective is relatively clear from then on: shield Daniel Faria's poetic work of any emotional experience, re-place its poetry, reposition it in the field of the literary studies to arrive finally at a more relevant reading of its work, as closely as possible to the textual truth of the work. Such is the stake in this study: specify the reach of this poetry, by underlining the constancy and the coherence of a reflection which associates poetic experience and mystic experience, and to clarify their reports without dispossessing the mystic experience of its appropriate essence
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Duyck, Clément. "Poétique de l'extase (France, 1601-1675)". Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA130.
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L’objet de cette thèse est de montrer, dans un corpus français compris entre 1601 et 1675, que l’extase est employée comme la condition du sens de ces discours. La première partie, qui porte sur la fin de l’extase mystique, vise à répondre aux besoins préliminaires d’une définition de l’extase au XVIIe siècle, afin de disposer des outils lexicaux, notionnels et historiques pour mener à bien la recherche poétique. Sont précisés le lexique de l’extase, les conséquences induites par la transformation d’un principe métaphysique en un phénomène humain, et la situation de l’extase face au discernement spirituel qui a abouti à sa faillite. La deuxième partie, qui est consacrée aux récits d’extases, permet de mesurer les conséquences poétiques des premières conclusions, en distinguant la poétique narrative de deux objets qui se trouvent à l’un et l’autre bout des mutations de l’extase au cours du siècle, à savoir l’extase visionnaire dans la Vie de Thérèse d’Avila et l’extase devenue invisible dans les relations spirituelles de Claudine Moine. Ces deux extases sont traitées comme des objets sémiotiques, dont les procédures narratives posent à la narration un problème d’ordre temporel qui a pour effet de faire échec au récit de sainteté que Thérèse d’Avila entend mener, et de rendre impossible dans les écrits de Claudine Moine la conjonction du sujet de l’histoire racontée avec le sujet de la narration. Enfin, la troisième partie traite de l’énonciation de l’extase dans un corpus principalement poétique. Elle isole les figures historiques employées pour représenter une telle énonciation, précise la façon dont l’affectivité extatique s’articule à la parole, et éclaire l’incidence de l’économie affective de sujet extasié sur les modes de figuration objective de l’extaseThis dissertation aims to show, through an analysis of a French corpus dating from 1601 to 1675, that ecstasy is used as the condition of the meaning of these speeches. The first part, which focuses on the end of mystical ecstasy, seeks to meet the primary needs of a definition of ecstasy in the 17th century, in order to gather the lexical, notional and historical tools for poetical research. It clarifies the lexicon of ecstasy, shows the results of the transformation of a metaphysical principle into a human phenomenon, and explains the situation of mystical ecstasy facing the discernment of spirits that led to its fall. The second part, which focuses on the narratives of ecstasy, allows to evaluate the poetical consequences of the previous conclusions. It distinguishes indeed between the narrative poetics of two objects located on both ends of the mutations of ecstasy during the century: the visionary ecstasy in the Life of Teresa of Avila, and the invisible ecstasy in the spiritual relations of Claudine Moine. These two kinds of ecstasies are considered as semiotic objects, whose procedures result in a temporal problem: ecstasy stymies the narrative of holiness that Teresa of Avila intends to tell, and hinders the identification between the subject of the story and the subject of the narration in Claudine Moine’s writings. Finally, the third part deals with the enunciation of ecstasy in a corpus that is mainly poetical. It isolates the historical figures that are used to represent this enunciation, specifies how the ecstatic emotions are linked to verbal expression, and determines the impact of the ecstatic subject’s emotional economy on the objective modes of figuration of ecstasy
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Prus, Erin S. "Divine presence, gender, and the Sufi spiritual path: An analysis of Rabi’ah the Mystic’s identity and poetry". Xavier University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=xavier1274714058.
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Chiabotti, Francesco. "Entre soufisme et savoir islamique : l'oeuvre de ῾Abd al-Karīm al-Qushayrī (376-465 / 986-1072)". Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3096.
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La présente étude veut représenter un essai de synthèse des aspects les plus remarquables de la production littéraire et du rôle dans l'histoire du soufisme du maître soufi et théologien khorassanien Abū l-Qāsim ῾Abd al-Karīm b. Hawāzin al-Qushayrī (376-465/ 986-1072). Trois axes principaux sont développés : la vie de Qushayrī et la dynamique de diffusion de son oeuvre, l'analyse du corpus qushayrien (étude des manuscrits et état de l'édition), les aspects les plus remarquables de sa doctrine. L'idée principale qui guide ce travail est la saisie de la relation qu'on aperçoit, dans l'oeuvre de Qushayrī, entre le soufisme et les différents savoirs islamiques. Quelle est la véritable nature de cet « effet miroir » que Qushayrī opère entre le savoir exotérique et la connaissance ésotérique propre au soufisme ? Dans quelle mesure Qushayrī innove et dans quelle mesure peut-on le considérer comme un « transmetteur fidèle » d'un patrimoine à la fois spirituel et savant dont il se veut l'héritier ? Après la redéfinition de la relation soufisme-savoir, notre deuxième objectif est de jeter une nouvelle lumière sur «Qushayrī le maître», un maître que les sources plus anciennes appellent ustādh imām, savant et religieux à la fois. Par delà le souci normatif qui traverse l'oeuvre qushayrienne, n'en demeure pas moins un appel au voyage et au dépassement vers la connaissance de Dieu. Comme le dit le maître soufi Dhū l-Nūn l'Egyptien d'après la Risāla de Qushayrī, « tout ce que tu peux concevoir dans ton imagination, Dieu est différent de cela »This dissertation is the first monograph on the life and work of the immensely influential Nishapuri Sufi and theologian ʿAbd al-Karīm b. Hawāzim al-Qushayrī (376-465/986-1072). On the basis of unpublished manuscripts and textual marginalia (isnāds, ijāzas and colophons) as well as recently published critical editions, the present study has three primary research nodes: 1) Qushayrī's formation as a thinker and the dynamics that made for the successful diffusion of his work; 2) the Qushayrian corpus (a survey of extant manuscripts, editions and secondary scholarship); and 3) the most important aspects of Qushayrī's project. A number of important questions will be pursued, including: How should we understand the interplay between exoteric and esoteric knowledge that pervades Qushayrī's writings? To what extent does Qushayrī redefine the spiritual and scholarly traditions he inherited, and how does he conceive of his role as transmitter? Finally, this study addresses the role of Qushayrī as a spiritual master. Questioning previous assumptions as to the ways in which Qushayrī's spiritual influence was propagated, I demonstrate that Qushayrī emerged as a charismatic spiritual master in his own lifetime, directly establishing a Sufi-scholarly tradition that our sources term Qushayriyya
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Serra, Lopes Francisco. "De mystica sive obscenum. Hermenèutica negativa com a procés de compresió de la poesia de Fernando Echeverría i com a via d'autoconeixement del lector". Doctoral thesis, Universitat Pompeu Fabra, 2010. http://hdl.handle.net/10803/7452.
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Davant de l'obra del poeta portuguès Fernando Echevarría (1927), hi ha l'intent de llegir fenomenològicament. Observant els límits de la fenomenologia de lectura, i mitjançant l'atenció a la relació lectoral establerta, es procedeix al discerniment de les qualitats més capaces de descriure i comprendre aquell discurs poètic: intensió, emergència, lloança i bé sense intermitència. Aquestes qualitats, confirmades per un apropament filosòfic que s'hi acomoda com a raó intuïtiva, manifesten la possibilitat d'identificar el discurs echevarrià com a poesia mística. Es replanteja el lloc del lector com a negativitat i es descriu, a la llum dels usos de l'expressió 'hermenèutica negativa', en què es diferencia i quines conseqüències pot tenir aquesta disposició hermenèutica per a la vida de la comunitat de lectors.Before the work of Portuguese poet Fernando Echevarría (born 1927), a phenomenological reading is intended. Observing the limits of such phenomenology, and paying attention to the lectural relation that develops, I proceed discerning which qualities may be more capable of describing and understanding that poetic discourse: intension, emergence, praise and good without intermittence. These qualities, confirmed by a philosophic approach that gets closer to them in the form of intuitive reason, manifest the possibility of identifying the Echevarrian discourse as mystical poetry. The place of the reader is reconsidered as negativity while the uses of the expression 'negative hermeneutics' allow for a description of both its distinctiveness and the consequences this hermeneutic disposition may have for the life of a community of readers.
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Kershaw, Alison. "The poetic of the Cosmic Christ in Thomas Traherne's 'The Kingdom of God'". University of Western Australia. School of Social and Cultural Studies, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0085.
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[Truncated abstract] In this thesis I examine the poetics of Thomas Traherne’s often over-looked Christology through a reading of The Kingdom of God. This work, probably written in the early 1670s, was not discovered until 1997, and not published until 2005. To date, no extended studies of the work have been published. It is my argument that Traherne develops an expansive and energetic poetic expressive of the theme of the ‘Cosmic Christ’ in which Christ is understood to be the source, the sustaining life, cohesive bond, and redemptive goal, of the universe, and his body to encompass all things. While the term ‘Cosmic Christ’ is largely of 20th century origin, its application to Traherne is defended on the grounds that it describes not so much a modern theology, as an ancient theology rediscovered in the context of an expanding cosmology. Cosmic Christology lies, according to Joseph Sittler,“tightly enfolded in the Church’s innermost heart and memory,” and its unfolding in Traherne’s Kingdom of God is accomplished through the knitting together of an essentially Patristic and Pauline Christology with the discoveries and speculations of seventeenth century science: from the infinity of the universe to the workings of atoms. … The thesis concludes with a distillation of Traherne’s Christic poetic The Word Incarnate. The terms put forward by Cosmic Christology are used to explicate Traherne’s intrepid poetic. In his most remarkable passages, Traherne employs language not only as a rhetorical tool at the service of theological reasoning, but to directly body forth his sense of Christ at the centre of world and self. He promises to “rend the Vail” and to reveal “the secrets of the most holy place.” Scorning more “Timorous Spirits,” he undertakes to communicate and “consider it all.”
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Mohamed, Ali Mortada. "Les ḥiğāziyyāt de Šarīf al-Raḍī : étude d’un genre poétique novateur au Xe siècle". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA115.
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Šarīf al-Raḍī, auteur incontournable pour qui souhaite étudier la poésie arabe à travers son histoire, peut difficilement être catalogué. En effet, bien qu’il ait profité des courant littéraire qui l’ont précédé, ce poète précoce, critique littéraire, juriste, linguiste et émir du hadj a petit à petit développé son propre genre poétique à travers les ḥiğāziyyāt, composant ainsi des poésies d’amour autour des lieux saints du pèlerinage. Cette étude visera donc dans un premier temps à comprendre ce qui fait l’originalité de ce genre en son temps pour enfin tenter de saisir la portée de l’influence des ḥiğāziyyāt sur la poésie arabe des siècles qui ont succédé à notre poèteŠarīf al-Raḍī, major writer whose work has to be studied by anyone interested in Arabic poetry throughout time, can hardly be classified. While he took advantage from past literary movements, this poet, who started writing at an early age and became a literary critic as well as a linguist, a jurist and the emir of hajj, gradually developed a new poetical genre through his ḥiğāziyyāt. He thus composed love poems that revolve around the sacred places of pilgrimage. This study aims at understanding what made this genre unique in its time before trying to grasp the scope of the ḥiğāziyyāt’s influence on Arabic poetry in the following centuries
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Moreta, Ignasi. "El pensament religiós de Joan Maragall". Doctoral thesis, Universitat Pompeu Fabra, 2008. http://hdl.handle.net/10803/7441.
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El pensament religiós de Joan Maragall no havia estat objecte fins ara de cap estudi ampli i sistemàtic. Aquesta tesi pretén oferir una sistematització d'aquest pensament en el marc d'una biografia intel·lectual que permeti visualitzar-ne l'evolució i el desenvolupament. Expositivament, s'ha perioditzat la biografia intel·lectual en quatre etapes: 1) la religió romàntica de la bellesa (1860-1890); 2) de l'exaltació positivista dels forts a la cristianització de l'excelsior (1890-1901); 3) un neoespiritualisme modernista (1901-1906), i 4) l'últim Maragall (1906-1911). És en l'últim període quan Maragall dota el seu pensament d'una terminologia específica i li dóna una forma travada i coherent. Des d'una posició clarament antiascètica no, però, antimística , Maragall detecta l'existència en el temps de moments de suspensió de la temporalitat els «moments d'eternitat» la vivència dels quals permet superar la distinció entre vida terrenal i ultraterrenal.Until now Joan Maragall's religious thought has not been the object of an extensive and methodical study. This thesis aims to offer a systematization of his religious thought within the framework of an intellectual biography which allows for the visualization of its evolution and development. For the purpose of this analysis, the intellectual biography has been divided in four stages: 1) the romantic period of the religion of beauty (1860-1890); 2) the positivist period, from the exaltation of the strong to the Christianization of the excelsior (1890-1901); 3) the modernist neo-spiritualist period (1901-1906), and 4) the last period (1906-1911). Maragall develops a specific terminology for his thought and gives it a coherent and unified form in the last stage. From a clearly anti-ascetic position though not anti-mystic , Maragall detects the existence of moments when temporality is suspended «moments of eternity» , the experience of which allows for the overcoming of the distinction between earthly and otherworldly.
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Wahlström, Emil. "En religionspsykologisk studie av poeten och mystikern Gunnar Ekelöf : Om poeten som mystiker och poesi som mystikens språk". Thesis, Högskolan i Gävle, Religionsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-24456.
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With this essay, I mean to investigate if the poetry of the Swedish poet, writer and cultural elitist Gunnar Ekelöf shows signs and meanings of a mystical character. First, I research and compare the theories of Nathan Söderblom, Hjalmar Sundén and Antoon Geels about mysticism and use these in my interpretation of Ekelöfs poetry. It soon becomes clear that Ekelöf is a person with an inner religious reality and in context with the definition of mysticism this essay presents and uses, it goes to show that his poetry can be seen as mystical and furthermore that Ekelöf himself can be considered a mystic. This essay, leads to a discussion about a wider interpretation of mysticism and that mysticism can be seen in poetry.
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Silva, Darci Francisca da. "O anjo poeta: relação entre literatura e misticismo em escritos de Dom Helder Câmara". Universidade Católica de Pernambuco, 2008. http://www.unicap.br/tede//tde_busca/arquivo.php?codArquivo=427.
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Por toda parte, tem-se presenciado o surgimento de um renovado interesse pela espiritualidade e por suas expressões religiosas. Em sintonia com tal busca, a presente pesquisa versa sobre a "Relação existente entre literatura e misticismo em escritos de dom Helder Camara", a partir da constatação de que o misticismo, embora sendo um exercício espiritual raro, em sua atitude básica, é ele o esforço pela união entre a realidade e a transcendência, implicando a correspondente coragem de tomar sobre si o não-ser. E isso representa um recurso que proporciona a escuta e o acolhimento do divino, integrando fé e vida, a ponto de que seus praticantes possam exercitar-se num diálogo com seu Deus. Os místicos podem, criativamente, fazer uso da linguagem literária no manuseio das palavras,
quando, nas narrativas históricas, descrevem planos, realizam esboços dos seus discursos a proferir e registram maturas meditações. A imaginação flui em configurações que apontam
para dimensões não palpáveis à compreensão daqueles que, minimamente, não perceberam suas conformaçõesInterest in spirituality and its literary expressions has become very popular. Being part of this interest, his research of dissertation seeks a relationship between literature and mysticism in the works of the Bishop Helder Camara. It begins with a realization that mysticisms, though not common, in its attitude, in an effort to form a union between reality and transcendence, necessitating a corresponding courageous attitude to accept a "state non-being" which represents a way and proportions a listing and reception of the divine, integrating faith and life, caking its practitioners an experience of God. The mystics can creatively use literary language. When they narrate histories, describe projects, write discourses, record nature. Meditations or let imaginations flow in configurations which point to dimensions non-experimental to comprehensions which still minimally do not comprehend to his according
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Toledo, Cláudia Gisele Gomes. "Entre o céu e a terra: a presença de Grande sertão: veredas na poesia de Adélia Prado". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-08012013-142527/.
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O presente estudo propõe-se a explorar a carga de afinidades entre a poesia de Adélia Prado e a obra de Guimarães Rosa Grande sertão: veredas. Os aspectos característicos da poeta, que se aproximam e se afastam daqueles do escritor, mostram uma poética em que se reconhece a presença do romance, que a própria Adélia Prado assume como matriz de inspiração de seu fazer poético. Posteriormente, a pesquisa particulariza-se em relacionar trechos do romance rosiano a alguns poemas de Poesia Reunida e A duração do dia, em que a autora, movida pela percepção híbrida do sagrado em meio ao cotidiano, faz uso da linguagem como canal de passagem do imanente para o transcendente e da relação possível entre a experiência mística e a poesia, configurando-se para a poeta Grande sertão: veredas como sua Bíblia Literária.The present study proposes to explore the burden of affinities between the poetry of Adelia Prado and the work of Rosa Grande sertão: veredas. The characteristic features of the poet, that approach and recede from those of the writer, show a poetics which recognizes the presence of the novel, which takes itself as matrix Adelia Prado inspiration of his poetic. Subsequently, research particularizes in excerpts of the Rosa\'s novel relate to some poems of Reunited Poetry and The duration of the Day, in which the poet, driven by the perception hybrid of the sacred amid the everyday uses of language as a channel for passage of immanent to the transcendent and the possible relationship between mystical experience and poetry, becoming Grande sertão: veredas as \"Literary Bible\" for her.
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Araujo-Rousset, Anthony de. "Figures françaises de Dante : un mythe romantique". Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE3008.
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Ce travail construit une dantologie transcendantale fondée sur la fécondité et la légitimité du commentarisme français tout au long du dix-neuvième siècle. Le nom et l’œuvre de Dante progressent dans la vie de l’esprit et de la culture après la sidération de la Révolution, avec la naissance, l’apogée, le déclin et les suites métamorphosées du Romantisme. Un amour soumis à la loi de la divisibilité de quelques fragments de la Divine Comédie se transforme graduellement en une première dantologie. Des figures archétypiques issues de domaines hétérogènes donnent une armature conceptuelle et poétique à cette double spirale entrecroisée : la lecture des textes de Dante éclairée par la critique contemporaine ; et la compréhension des morphologies divergentes du Romantisme en la diversité de ses moments. Dante est un penseur de l’histoire, des enjeux politiques, du christianisme jusqu’en ses limites internes et externes, du fait initiatique, de la différence sexuelle dans laquelle UN POETE SE TRANSHUMANISE PARCE QU’IL EST AIME PAR BEATRICE APRES AVOIR ETE GUIDE PAR VIRGILE. Chateaubriand, Balzac, Nerval et Hugo sont les parangons d’une lecture tournée vers un usage libre, infidèle mais hautement créateur. Fauriel, Ozanam et Aroux représentent la volonté d’une critique raisonnée de la doctrine philosophique et théologique dantesque. Dante et son œuvre s’inscrivent au cœur des mille agitations d’un dix-neuvième siècle qui reconfigure la France et l’Europe. La rémanence de l’espérance du voyageur cherchant à revoir les étoiles et à contempler la Trinité influence les réminiscences du progressisme plurivoque. La figure d’airain du poète acrimonieux et vengeur accompagne les esprits désenchantés. Celui qui devient l’égal des dieux après avoir affronté une Dame qui tue autant qu’elle ennoblit inspire les mystiques et ceux qui cherchent une nouvelle spiritualité. Le chantre de la foi, revenu dans le giron de l’Église après la conversion de son amour, réchauffe les catholiques. L’homme qui dédouble les pouvoirs comme les soleils de Rome devient un interlocuteur privilégié après l’Empire. Nous ne cherchons pas une liste exhaustive, thématique ou chronologique, notionnelle ou par auteur. À travers des exemples ayant valeur de paradigmes, nous montrons comment cette union de connaissance et d’usage créateur construit des FIGURES de Dante qui entrent en écho avec les inquiétudes et les espérances, les attentes et les angoisses, du Romantisme. Alors Dante et son « Poème Sacré » ne sont plus seulement des occasions de références. Ils deviennent un MYTHE au cœur du rapport entre mystique religieuse et initiation par l’Éternel-Féminin, engagement dans l’histoire et culte de la Beauté, aspiration à un sursaut régénérateur du monde et conscience amère du tragique de la scission entre l’Idéal et le Réel, mythe du Tombeau et promesse d’élévation spirituelle. Parmi les voies possibles, NOUS DEFENDONS UN DANTE SE VOUANT AU CULTE INITIATIQUE DES TOMBEAUX ET DES « DAMES QUI ONT L’INTELLECT D’AMOUR. » Il appartient à un catholicisme élargi, dilaté – le catholicisme transcendantal de Maistre qui assume son ésotérisme arcane fondé sur la polysémie des textes et la liberté accordée par Dante au commentaire. L’auteur de la Divine Comédie s’inscrit dans un Romantisme de plus en plus sombre, antimoderne, à la fois POUVOIR D’ANAMNESE D’UNE GRANDEUR ABOLIE ET PROPHETE D’UN MONDE EN GERMINATION, qui reprend ses thèmes : les questions de la laïcité, de la langue pour le peuple contre celle des dieux, de l’aspiration à l’idéal et à la communication du visible et de l’invisible, de la puissance métaphysique de la Dame. Notre Dante est celui qui doit choisir « l’autre voie », celle de la catabase nécessaire avant l’anabase ; et qui doit faire preuve de la plus grande piété envers les ombres. Alors ce Dante et ce Romantisme « ne descendent pas sans raison dans l’abîme » : ils y trouvent, notamment par la puissance de la parole, la promesse de l’EspritThis work builds a transcendental dantology based on a leibnizian paradigm of a perennial philosophy. Dante's name and work get on gradually in the life of spirit and French culture, after the astonishment of the Revolution, with the birth, the apogee, the decline and the transformed sequels of Romanticism. One love submitted to the rule of divisibility in direction of some fragments of the Divine Comedy turns into a first dantology. Archetypal figures coming from heterogeneous domains provide a conceptual and poetical framework at this double-crossed spiral: the reading of Dante's texts enlightened by present-day criticism; and the understanding of the divergent morphologies of the various moments of Romanticism. Dante appears as a thinker of history, political stakes, Christianism even in his internal and external limits, initiatory fact, sexual difference in which A POET BECOMES TRANSHUMAN THANKS TO BEATRICE'S LOVE AND VIRGIL'S GUIDING. Chateaubriand, Balzac, Nerval and Hugo are the paragons of a reading going to a free use, inaccurate but highly creative. Fauriel, Ozanam and Aroux represent the quest of a reasoned criticism of the philosophical and theological dantean doctrine. Dante and his work got included in the heart of thousands occasions of unrest of a nineteenth century that reconfigure France and Europe. The persistence of the hope of a traveller attempting to see once more the stars and contemplate the Trinity influence the reminiscences of progressivism in many aspects. The brazen figure of an acrimonious and revengeful poet goes with disenchanted minds. The one that becomes a companion of the other gods after struggling with an ennobling and killing Lady inspire the mystics and those who look for a new spirituality. The faith apologist, once he has got back into the bosom of the Church thanks to the conversion of his love, warms up the Catholics. The man who divides into two the powers as the suns of Rome turns to a favoured speaker after the Empire. We don't look for an exhaustive, thematical, notional, chronological or nominal list. But, through examples as paradigms, it's shown how that union between knowledge and creative use builds, in less than a century, some figures of Dante that echo with the concerns and hopes, expectations and anguishes, of Romanticism. In this way Dante and his "Sacred Poem" aren't reductive to citations occasions. They become a myth at the heart of the relation between religious mystic and initiation thanks to the Eternal-Feminine, commitment in history and cult of Beauty, craving for a world-wide regenerative burst and being aware of the tragic scission between Ideal and Real, myth of the Tomb and promise of spiritual elevation. Among the various possibilities, WE DEFEND A DANTE DEVOTED TO THE INITIATORY CULT OF THE SEPULCHRE AND THE "LADIES WHO GOT THE INTELLECT OF LOVE." He belongs to a broadened, dilated Catholicism - the transcendental Catholicism by Maistre, that takes on his Arcanum esotericism based on the polysemy of the texts and the freedom granted by Dante to the commentary. The author of the Divine Comedy takes place in a more and more gloomy, antimodernist, Romanticism; BOTH THE ANAMNESIS POWER OF AN ABOLISHED GREATNESS AND THE PROPHET FOR WORLD IN GERMINATION that picks his themes up again: questions of laicity, popular language in front of the gods 'one, aspiration at the Ideal and at the link between visible and invisible, metaphysical power of the Lady. Our Dante is the one who has to take care of "the other path", the catabasis before the anabases; and who has to show up the highest devotion toward the shadows. Then, this Dante and this Romanticism don't journey to the "deep randomly": here they find, in particular thanks to the power of Speech, the promise of the Spirit
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Santos, Elisa Duque Neves dos. "Manoel de Barros: peregrinação da poesia por um conhecimento natural". Niterói, 2017. https://app.uff.br/riuff/handle/1/3094.
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A poesia de Manoel de Barros peregrina pelos campos da palavra, da imagem, da memória e do Ser buscando um Conhecimento Natural, o qual ecoa na proposta de comunhão mística, que se dá na anulação das hierarquias entre os seres e seus modos de associação. Assim, propôs-se pensar nos procedimentos de comunhão, como a incorporação, a transubstanciação, a fusão e suas implicações na poesia de Manoel de Barros. Esta dissertação investiga, sobretudo, a sobrevivência de um vínculo de encantamento, que faz fronteira com o sagrado, em íntima troca com a natureza. O objetivo é perguntar se, por meio de um Conhecimento Natural determinado por uma lógica-eco, a poesia de Manoel de Barros tem uma proposta de religação de potência sagrada do homem ao mundo. O sagrado, de acordo com Bataille, é o que nos coloca diante de uma continuidade imanente. Esta dissertação, portanto, caminha por três vias de acesso: a primeira via, considera o tripé palavra-imagem-memória na poesia de Manoel de Barros (abordando principalmente a perspectiva de Henri Bergson), indicando a participação de um corpo perceptivo, intuitivo e sensível, bem como sugerindo o poema como imagem. Além disso, considera-se o olhar delirante e transgressivo (“transver”) do poeta; a segunda via sugere pensar em uma relação eco-lógica da poesia de Barros. Para este poeta, a natureza é lugar-fonte de sua poesia, o que determina tanto um arejamento filosófico (ético e político) que permite diálogos com o pensamento teórico de Felix Guattari, Michel Maffesoli, Gabriel Giorgi e Georges Bataille, quanto uma interatividade ecológica e visual entre o observador e o ambiente (diálogos com Michel Collot). Das perspectivas de Jacques Maritain e Giordano Bruno sobre o Conhecimento Natural, a poesia de Manoel de Barros corresponderia a uma tentativa de restaurar o vínculo entre o homem e o sagrado. Finalmente, a terceira via se concentra no conceito de “natência” (potência de fazer nascimentos com a linguagem poética) como um caminho vital e alegre que faz fronteira com a imanência sagrada. Convocamos da poesia de Manoel de Barros os temas da infantia, comunhão, eucaristia, metamorfose, mística e mito, erotismo, e santidade; os aspectos da incompletude e “devir” (Gilles Deleuze); e da relação da poesia moderna com a secularização e profanação do sagrado, com o auxílio de Walter Benjamin, Jean-François Lyotard, Giorgio Agamben, Octavio Paz, Clément Rosset, São Francisco de Assis, entre outros pensadores.
The poetry of Manoel de Barros peregrinates to word, image, memory and existential fields, seeking for a Natural Knowledge that echoes the proposal of mystical communion in the annulment of the hierarchies between beings and their association modes. Thus, it is relevant to this research to think of communion procedures, such as incorporation, transubstantiation, fusion and their implications in Manoel de Barros’ poetry. This paper investigates, in the poetry of Barros, the remaining of an enchantment bond which borders the sacred in intimate exchange with nature. The goal is to ask whether, through a Natural Knowledge from an ecological stance, the poetry of Manoel de Barros has a sacred proposal for rewiring man to the world. The sacred, for instance, according to Georges Bataille, is what put us in front of an immanent continuity. This dissertation, therefore, walks through three access routes: the first way, the word-image-memory tripod in the poetry of Manoel de Barros (mainly addressing Henri Bergson’s perspective), indicating the participation of a perceptive, intuitive and sensitive body, as well as placing the poem as an image. Also, it considers the delusional and transgressive glance (“transver”) of the poet; the second way suggests thinking of an eco-logical relationship between Barros’poetry and nature as the source of it, which determine both a philosophical aeration (ethical and political) that allows dialogues with some theoretical thoughts of Felix Guattari, Michel Maffesoli, Gabriel Giorgi and Bataille, and an ecological and visual interactivity between the observer and the environment (dialogues with Michel Collot). From Jacques Maritain and Giordano Bruno’s perspective on the Natural Knowledge, Manoel de Barros’s poetry would correspond to an attempt to restoring the bond between man and the sacred. Finally, the third way focus on the concept of “natência” as a vital and joyful path that borders the sacred immanence. Manoel de Barros’ poetry summons to think on the topics of infantia, communion, eucharistia, metamorphosis, mysticism and myth, eroticism, and sainthood, the aspects of incompleteness and “becoming” (Gilles Deleuze) and the relationship of modern poetry with the secularization and profanation of the sacred, with the help of Walter Benjamin, Jean-François Lyotard, Giorgio Agamben, Octavio Paz, Clément Rosset, St. Francis of Assisi, among others thinkers.
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Gorelick, Adam D. "The Enchanter's Spell: J.R.R. Tolkien's Mythopoetic Response to Modernism". FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/1022.
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J.R.R. Tolkien was not only an author of fantasy but also a philologist who theorized about myth. Theorists have employed various methods of analyzing myth, and this thesis integrates several analyses, including Tolkien’s. I address the roles of doctrine, ritual, cross-cultural patterns, mythic expressions in literature, the literary effect of myth, evolution of language and consciousness, and individual invention over inheritance and diffusion. Beyond Tolkien’s English and Catholic background, I argue for eclectic influence on Tolkien, including resonance with Buddhism.
Tolkien views mythopoeia, literary mythmaking, in terms of sub-creation, human invention in the image of God as creator. Key mythopoetic tools include eucatastrophe, the happy ending’s sudden turn to poignant joy, and enchantment, the realization of imagined wonder, which is epitomized by the character of Tom Bombadil and contrasted with modernist techno-magic seeking to alter and dominate the world. I conclude by interpreting Tolkien’s mythmaking as a form of mysticism.
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Vaglio, Tanet Maddalena. "Babeling: Language, Meter, and Mysticism in Amelia Rosselli's Poetry". Thesis, 2017. https://doi.org/10.7916/D85X2N7N.
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Amelia Rosselli has often been considered an obscure and impenetrable author, whose language may be identified with the expression of the unconscious. In this study I argue, on the contrary, that a strong cognitive tension underlies the poet's multilingual production (in Italian, English, and French). I therefore explore its imaginative and philosophical depth, by reconstructing Rosselli's project to transpose into writing the complexity of human experience in a fickle, chaotic, and contradictory world. In the first chapter I focus on language, in particular on lexical fusions and distortions, mainly questioning Pasolini's interpretation based on of the notion of freudian slip. With the aid of hermeneutical tools borrowed from the philosophy of language, I claim that Rosselli's language aims on the one hand at mirroring reality, and on the other at making textual experience potentially infinite, thus engaging the reader in a never-ending interpretation. I also maintain that the category of the baroque allows us to appreciate Rosselli's aesthetics from an original point of view. In the second chapter I investigate Rosselli's elaboration of a new metrical form, stressing its relations to the poet's studies in musicology, ethnomusicology and acoustics. Through the meter Rosselli tries to restrain subjectivity, hence accessing a more objective and universal poetic dimension. The last chapter is devoted to Rosselli's mysticism. The mystic tradition offers a vivid imagery and a refined rhetoric to an author who wants to put the subject aside and depict the unstable (or vain?) nature of the world. However, Rosselli's attempt to find a metaphysical or divine remedy to violence and chaos does not succeed. Her longing for transcendency remains unfulfilled.
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Schomburg, Zachary. "Scary, No Scary". 2009. http://proquest.umi.com/pqdweb?did=1933936481&sid=12&Fmt=2&clientId=14215&RQT=309&VName=PQD.
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Thesis (Ph.D.)--University of Nebraska-Lincoln, 2009.Title from title screen (site viewed February 25, 2010). PDF text: 1 v. UMI publication number: AAT 3386595. Includes bibliographical references. Also available in microfilm and microfiche formats.
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"God in the Darkness: Mysticism and Paradox in the Poetry of George Herbert and Henry Vaughan". East Tennessee State University, 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0720101-152602/.
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Hoffman, Nancy Marie. "Mysticism and allegory in Porphyry's De antro nympharum". Thesis, 2014. http://hdl.handle.net/2152/25784.
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This report examines Porphyry’s De antro nympharum and its eclectic mixture of philosophy, allegory, and mysticism in the form of a Homeric commentary. The paper situates Porphyry’s commentary in the broader tradition of Homeric interpretation with special attention to Stoic exegesis and Platonic views on poetry and myth. It also contextualizes Porphyry’s philosophy in terms of the mystery cults, particularly Mithraism, that had grown very popular by Porphyry’s time. The paper argues that Porphyry devised a practice of reading intended to promote a level of philosophical contemplation beyond the level of rational discourse, in keeping with the Neoplatonic philosophy of his teacher, Plotinus, and that this practice is especially evident in the De antro nympharum.text
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Chouraqui, Lise. "Le charme kabbalistique d'Aurélia de Nerval". Thèse, 2018. http://hdl.handle.net/1866/21993.
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Mozafari, Ardavan. "Desire of Union". Thesis, 2010. http://hdl.handle.net/10012/5207.
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In our modern world, a signifi cant number of traditional values have been dramatically manipulated, taking on new meanings and definitions quite diff erent from their original or natural signifi cance. Moreover, these traditional values are being replaced by new ones deemed more suitable to today’s world. Ideas such as selfl essness, humility, and longing, among others, have seemingly lost value as a consequence of the frantic pace of modern life and replaced by self-centredness, greed,aridity, exteriority, which will have a direct impact on our surrounding environment. Let’s imagine a land in which selfi shness is not a priority.
Instead, replace it with a society driven by humane preferences. Would the architecture of that society still look like ours does today? Would it be as unsociable as it is in our so-called advanced civilization?
This thesis investigates this query through a juxtaposition of the traditional values of a Persian art with the demands of modern life. It is a study of the calligraphic art of Iran as a transcendental practice, highly intertwined with strong emotions, wherein the intention of the research is to discover the relationship between Persian calligraphy and architecture.
Presenting calligraphy as a context for understanding architecture has the potential to get beyond ourselves in the spaces we author. This research aims to allow the essence of Persian calligraphy into modern space as a means to revive the true essence of architecture: reunion of feeling and space, a concept that is given too little attention in our current architecture.
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Alves, João Pedro Ferreira. "Racionalidade e religiosidade n'O Outro Livro de Job de Miguel Torga". Master's thesis, 2014. http://hdl.handle.net/1822/46009.
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Dissertação de mestrado em Teoria da Literatura e Literaturas LusófonasAs obras de Miguel Torga vão, na sua maioria, ao encontro do religioso e do místico. A obra mais em evidência nesta dissertação será O Outro Livro de Job, uma releitura d’O Livro de Job bíblico. Contudo, ir-me-ei debruçar, igualmente, sobre outras obras, sempre que se justificar tal ação. Abordarei, de uma forma mais reflexiva, a escrita do autor, salientando o facto de a dissociação tradicional entre racionalidade e religiosidade ser indelevelmente ultrapassada pelo escritor. Em toda a sua obra existe uma constante recriação literária que vai ao encontro da sua formação científica, a qual interfere bastante com o seu espírito místico. Seguidamente e após uma contextualização d’O Livro de Job bíblico entrar-se-á mais propriamente no tema central da dissertação, em que, baseando-se na dicotomia entre Deus e o poeta Torga, na obra O Outro Livro de Job, procurar-se-á demonstrar que existe uma grande conivência interior entre a razão e a religiosidade do escritor, o qual, servindo-se de textos bíblicos, nos transmite o seu grande conflito no que toca a esta matéria. Paralelamente ao seu espírito agnóstico, Miguel Torga foi, acima de tudo, na Literatura Portuguesa, um grande existencialista, na medida em que colocou sempre em questão os dogmas da Escritura Sagrada, revoltando-se, n’O Outro Livro de Job, com sátira e mordacidade, adotando uma atitude caricatural em busca de uma identidade em clivagem com a condição divina, enaltecendo sempre a humanidade plena. Conforme o próprio refere nos seus textos diarísticos, a sua alimentação diária está no seu ato criador, tendo em conta um espírito desconstrutivo sustentado na Bíblia.
Miguel Torgas’ pieces, works and essays go mostly to meet the religious and mysthical boundaries. The most evident piece of work on this dissertation will be O Outro Livro de Job which is a retelling and a reinterpretation of the biblical passage of the O Livro de Job. Despite being the central piece of my work I will also dedicate myself and focus other works and pieces whenever needed. I will also focus, in a more reflexive way the author' s writing, giving specially attention to the fact that the traditional dissociation between reason and religion is indelibly overcome by the author. There is a constant literary recreation throughout the all piece, which leads to a meeting point with his scientific training and backgrounds, which undoubtedly interferes with his quite mysthical spirit and beliefs. After a deeper contextualization of the biblical O Livro de Job I will dedicate to the main theme of this dissertation, always bearing in mind the dichotomy between God and the Poet Torga present and enlightened in O Outro Livro de Job. I will also try to demonstrate the existence and presence of a deep inner collusion between reason and religion, that by the references to biblical passages, it is the author's purpose to enlighten the inner conflict regarding this issue. Alongside its agnostic spirit, Miguel Torga was, above all, a great and deep existentialist, as he have always questioned the holly biblical dogmas, rebelling himself in O Outro Livro de Job , with sarcasm, satire and poignancy, always adopting, at the same time a caricatured attitude towards these dogmas, in the hope of finding an identity cleavage in the form of God , exalting humanity in its deeper and true sense and meaning. According to him, and to what he writes in his diaristics writings, his daily diet comes from its creative act of writing which draw his and our attention to his deconstructive spirit sustained in and by the holly bible. There is thus at the heart of the Torguiana writing, several and constant analogies with biblical passages, impregnated with scientism, which by itself demonstrates his rational - mystical vein in everything he says and do.
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Joseph, Belle Marie. "Interior Freedom in the French-language Poetry Written in the Concentration Camps (1943-45)". Phd thesis, 2017. http://hdl.handle.net/1885/133824.
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Interior Freedom in the French-language Poetry
Written in the Concentration Camps (1943-45)
Abstract: Adorno’s controversial declaration that ‘to write
poetry after Auschwitz is barbaric’ kindled debates on the
Holocaust and literature that persist to this day. A number of
critics, including Alvin Rosenfeld and Antony Rowland, have
argued that conventional poetics and aesthetics are deeply
problematised, even incapacitated, by the horrific nature of the
concentration camps. Holocaust poetry, these commentators
suggest, seeks self-effacement and silence, constantly drawing
attention to its own inability to assume the horrors of the
camps. My thesis challenges this paradigm, examining the little
studied corpus of French language poetry written by Resistant and
Jewish camp prisoners during their captivity. I argue that this
poetry consistently articulates interior freedom, a freedom
rooted in the enduring intellectual, philosophical, political and
religious convictions of these poets. Far from representing a
self-defeating project, poetry for these prisoners, I contend,
was a vital means of uncovering a saving ethos under conditions
of extreme deprivation and oppression. In this thesis, I focus on
the poetry of five French prisoners, André Ulmann (Mauthausen),
Gustave Leroy (Dora), Maurice Honel (Auschwitz), André Verdet
(Buchenwald) and Jean Cayrol (Mauthausen). I bring out from close
textual readings the distinctive nature of each author’s
understanding of freedom, discussing the poetic strategies,
including metaphor and Surrealist imagery, that contribute to
their elaboration of compelling visions of freedom and looking at
the ways in which freedom becomes embodied in the aural dimension
and formal structure of their poems. Notably, in my study of Jean
Cayrol’s extravagantly imaginative and mystical poems, I
introduce the concept of ‘imaginative translocation’ to
describe the author’s unique narrative approach and
particularly ambitious conception of interior freedom. Paying
particular attention to the influence of key movements and
belief-systems, most notably Communism, Catholicism and
Personalism, I explore the nature of the beliefs that allowed
these five prisoners to discover moral bearings, ethical purpose
and interior freedom during their internment.
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Prodan, Sarah Rolfe. "The Mystical Dimension of Michelangelo's Writings". Thesis, 2012. http://hdl.handle.net/1807/35739.
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This dissertation examines the spiritual poetry of Michelangelo Buonarroti (1475-1564) in light of three distinct but related contexts: Italian Evangelism of the Catholic Reformation, the Italian lauda tradition, and Renaissance Augustinianism. After reviewing the reception and critical history of Michelangelo’s poetry, chapter one presents the anthropological approach of the present study as an effective means of illuminating the poet’s spiritual verses by considering what they may have meant – collectively and individually – to the poet himself.
Chapter two analyzes Michelangelo’s lyrics inspired by Vittoria Colonna with respect to the Spirituali of the Ecclesia viterbiensis in general and to the Beneficio di Cristo and personal letters of Vittoria Colonna in particular. It shows that the portrayal of Vittoria Colonna in this poetry as an instrument of grace effecting Michelangelo’s spiritual refashioning, rebirth, and renewal reflects a theology of the Holy Spirit that was dear to the Italian Evangelical community and central to their self-perception.
The third chapter presents the Italian lauda tradition and its mystical verses addressing Christ and the Holy Spirit as an inspiration for Michelangelo who, in a later spiritual sonnet, borrowed directly from one of Lorenzo de’ Medici’s laude. This chapter shows how Michelangelo’s verse is informed by a long, popular Christian tradition in the vernacular.
The discussion in chapter four centres on Dante’s Commedia and on the Augustinian allegoreses that permeate Landino’s Comento to the grand epic. These two works, it is argued, constitute sources as important as Petrarch’s Canzoniere for Michelangelo’s Augustinian vision of a mystico-moral ascent through conversion.
This dissertation concludes that for Michelangelo poetry became an instrument of spiritual devotion. His mystical verses reveal a Catholic intellectual versant in Italian rhetoric of the Catholic Reformation and a poet inspired by Paul, Augustine, and the Italian lauda tradition.
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Prozesky, Stellamarie Bartlette. "A small adjective attending light, the archangelic noun : Jessica Powers: a modern metaphysical poet". Thesis, 2013. http://hdl.handle.net/10500/11868.
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This thesis aims to establish Jessica Powers (1905 – 1988) as a metaphysical poet, to augment the composite definition of metaphysical poetry, and to add two emphases to Christian literary theory. A comprehensive library search on Powers reveals that no scholarly work has been written on her poetry since 2005. A meta-analysis of existing work on Powers demonstrates that the metaphysical aspect of her poetry has not yet been comprehensively examined. Though Powers wrote in a time commonly called ‘post-modern’, my contention is that it would be more accurate to describe her as a metaphysical poet in the traditional sense of that term, as used, for example, of George Herbert (1593 – 1633). I endorse the view that the central theme of all metaphysical poetry is the relation between body and soul (Tanenbaum 2002: 211). It will be seen that this relation is the central concern of Powers’ metaphysical poetry.
My close reading of Powers’ work as metaphysical is according to a Christian literary theory which agrees with Hass ‘that the study of the text and textual hermeneutics in the twenty-first century will continue because of a particular resurgence of religion’ (2007: 856). It is augmented by two emphases, a scientific (based on Gallagher’s 2009 study of the neurophysiology of attention), and a philosophical (based on Fromm’s 1976 analysis of the ‘being mode’, and on Buber’s 1947 analysis of attentiveness to the present moment). My study thereby contributes to Christian literary theory. There are one hundred and eighty two poems in The Selected Poetry of Jessica Powers. This thesis refers, to greater or lesser extents, to one hundred and seventy six of the poems, and comprehensive examination of their metaphysical aspect is the primary focus of the thesis.
My examination of the poems demonstrates that Powers’ poetry can justly be described as metaphysical, which definition of her work serves to highlight an important and hitherto neglected aspect of her work, that she is a metaphysical poet of the finest calibre, and that renewed attention to her work is timely.English Studies
D. Litt. et Phil. (English studies)
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Simon, Robert Louis Dempsey. "An Iberian search: a comparative study of Sufi mysticism's presence in the postmodern poetry of Clara Janés and Joaquim Pessoa". Thesis, 2006. http://hdl.handle.net/2152/2646.
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