Дисертації з теми "Elegien"

Cette étude se propose d'approcher les "Elégies de Duino" sous l'angle de leur travail d'écriture. Elle suit d'abord la direction indiquée par le titre : celle de la plainte. Elle conclut à la désespérance d'un sujet ne connaissant de la temporalité que les aspects négatifs et vivant sur le mode de la nostalgie dans la conscience aigüe du moment qui fut pour lui décisif : celui du renversement catastrophique opéré par la "conscience dialectique" de l'homme. Forte de cette découverte, la lecture se réoriente à la lumière des contradictions de la "Quatrième Elégie". A l'acmé de la déploration, elle découvre le désir qui inscrit, lui, le texte dans le sens de la progression. Un renversement second s'opère alors. Il est redressement salvateur et inscrit l'homme dans son sens : celui de la loi dynamique et féconde du processus. Le texte s'avère champ de forces, son enjeu : la quête de la totalité toujours partielle d'un sujet vivant maintenant dans un présent toujours plus riche du passé. La métamorphose apparaît comme lieu privilégié de cette entreprise de totalisation. La lecture n'a plus qu'à repenser le cycle en se demandant s'il réalise cette métamorphose, si dans l'instant privilégié de sa rédaction, il pose lui-même la totalité du genre dans lequel il déclare s'inscrire. Cette réflexion conduit à une prise en compte de l'histoire du cycle, elle même. Ayant découvert le processus comme enjeu et "moyens" du poème, elle le découvre active dans sa genèse même. Le travail se démarque ainsi de certaines analyses réduisant l'oeuvre rilkéen à une seule structure anhistoriquement prise en charge par la parole poétique
This study intends to deal with the "Elegies of Duino" from the angle of the work of their writing. It first follows the ways indicated by the title, the one of the complaint. It concludes with the despair of a subject who knows nothing of temporality but the negative aspects and who lives on a nostalgic mode with the acute consciousness of the moment that was decisive for him, the one of the catastrophic reversal opered by the "dialectic consciousness" of man. The reading thus strengltened with such discovery is altered in the light of the contradictions of the "fourth elegy". At the climax of lamentation, it discovers the desire that is what sets the text on to the way of progress and of the law of process. A second reversal is then to be operated. It functions as a saving shift and sets man in his way, i. E the one of the dynamic, fertile law of process. The text turns out to be an area for forces to converge. What is at stake is the quest of the ever partial totality of a living subject now in a present that keeps enriching itself with the past. The metamorphosis appears as the privileged place for this attempt at totalisation. The reading must finally ponder over the cycle and wonder whether it realizes this metamorphosis, whether in the privileged instant of its drafting, it sets the totality of the genre within which it proclaims to define itself. This reflexion leads to the realization of the very history of the cycle. Having discovered the process as the stake and moving force of the poem, it now discovers it as active in its very genesis. The work thus differs from some studies that reduce the rilkean work to one single structure anhistorically taken in charge by poetic speech

Il lavoro si propone di individuare il ruolo che Picasso ha assunto nelle scelte poetologico- estetiche del Rilke monacense. Esso chiarisce quindi il modo le opere del Picasso rosa e protocubista si sono inserite nel ragionamento rilkiano che culmina nella articolazione geometrica di quella lirica figurale tra mimesi e astrazione; in che modo l’impulso picassiano strutturi l’immaginario rilkiano nella pagina poetica e all’infuori di essa dando vita a una prassi dialogica volta alla ricostruzione del Se. Esso si propone inoltre die spiegare in che modo la dialettica picassiana della frammentazione – ricostruzione pittorica venga implementata nella nuova architettura di pensiero che troviamo nelle elegie, nel loro spazio visivo e visibile, dove sguardo poetico e sguardo pittorico s’integrano per dare voce a un dissidio interiore rimasto troppo a lungo nascosto. Il compromesso formale a cui Rilke si attiene nell’accettazione e nella rielaborazione poetica dei presupposti cubisti diventa quindi oggetto d’indagine. Il lavoro procede con un’ampia descrizione contestuale al fine di individuare spunti critici e figurativi che possono aver favorito l’assimilazione di principi picassiani nel tardo Rilke. Lo si è fatto limitatamente al campo filosofico tramite la figura di Rudolf Kassner. Segue una riflessione sui modelli pittorici successivi a Rodin, e sul confronto con le nuove linee proposte dall’avanguardia in cui si distingue un filtro poetico più maturo e consapevole. Il lavoro si concentra poi sul valore della possibile rielaborazione monacense di intuizioni figurative precedenti, considerando Wendung come soglia del cambiamento nel sentire, nel vedere, nella configurazione poetica di entrambi. Segue l’analisi di scambi epistolari monacensi in cui ricompaiono esperienze passate come il viaggio a Toledo, la stesura del Malte, l’affiorare di quel tanto cercato contatto con la cosa in sé e con la propria natura umana grazie a cui Rilke comprende come ciò che subito appare come limite può rivelarsi occasione di apertura verso nuove, essenziali, geometriche ma intense possibilità espressive della poesia. Il lavoro procede quindi con la ricerca di collegamenti tematici fra lirica rilkiana e opere pittoriche del 1914, soprattutto in relazione alla nuova visione in cui sono inserite. Topo presenti in Rudolf Kassner, Paul Klee, Cézanne, Wassily Kandinsky, e in contributi di Hausenstein e Worringer diventano immagini utili a identificare una soglia nella ricerca del sé e il suo superamento tramite la restituzione figurale della stessa all’interno di una costellazione geometrica, per poi ricongiungersi all’unità, al tutto tramite l’unica tecnica compositiva possibile, quella che tende all’astrazione. Alla luce della riflessione qui proposta si rivela impossibile stabilire una diretta corrispondenza tra elementi estetici e figurativi contestuali a Wendung e la lirica rilkiana dopo il ’14. Diventa possibile però individuare nella Quarta, Quinta e Decima Elegia una assimilazione graduale, una tendenza verso il geometrico che nel caso di Rilke è frutto di un dialogo costruttivo fra matrice e risultato; fra Monaco, dove Rilke trascorre gli anni della guerra e Parigi, sempre presente nel suo immaginario. Quella Parigi che rimane ricordo fertile, luogo della matrice cezanniana su cui vengono implementate le nuove intuizioni strutturali del costruttivismo formale cubista. Diventa possibile, inoltre, individuare un principio comune tra il modello compositivo sempre più astratto che propongono Klee e Kandinsky pre-Bauhaus, non estraneo al Picasso analitico, che Rilke non riconosce esplicitamente ma nemmeno contraddice. Si tratta della volontà di attuare un cambiamento nei presupposti del ragionamento estetico su cui si basa poi la rappresentazione visibile su tela o pagina poetica. La volontà di porre enfasi sulla giustapposizione di risultato e processo; realtà e nostra conoscenza di essa, i cui presupposti sono da rivedere in base a esigenze rappresentative contingenti. L’accettazione del fatto che il la soglia, il confine Io-Mondo, tra visibile e invisibile, tra ciò che posso conoscere e ciò che invece è solo lecito immaginare sulla base di un disegno geometrico e parlante, possa essere superato ma non possa essere definito. Esso rimane un’entità indescrivibile, luogo in cui ha luogo il gesto artistico, un una combinazione di movimento e contromovimento in eterno divenire. Un luogo che consente all’Io di comprendere il meccanismo senza divenire padrone degli elementi in esso coinvolti. Un luogo in cui il Ding, intermediario fra Io e mondo, appare frammentato ma ricomponibile. Un luogo in cui si rivela quella componente spirituale dell’umano con cui egli stesso aveva perso il contatto prima di accorgersi che la figura geometrica è il compromesso accettabile tra mimesi e astrazione. L’idea di un contorno riconoscibile, ma luogo di libera interazione fra interiorità e realtà, luogo della loro parità ontologica del gesto artistico moderno. Ciò che emerge inoltre è il contributo picassiano alla soluzione formale elaborata da Rilke tra ’15 e ’22, in quanto egli partecipa al percorso verso la ricostruzione dell’Io e della sua visione. Nella finalità analitica della frammentazione su tela trova la vera e consapevole ricostruzione. Il lavoro risulta suddiviso in quattro macro-sezioni, con ragionamenti giustapposti e considerati da prospettive molteplici. A fronte di riferimenti che si ripetono e si riposizionano, per essere poi ricomposti dal lettore in questo nuovo, fluido orizzonte culturale, si offre un quadro critico altrettanto dinamico e complesso. Anche a livello critico il lavoro restituisce quindi un’impostazione consapevolmente stabilita attorno agli estremi inconoscibili del gesto letterario moderno e a una riconoscibile ma più libera topografia poetica dell’Io.
Die vorliegende Arbeit ist das Ergebnis der Auseinandersetzung Rilkes mit der Abstraktionsfrage während seines Münchner Aufenthaltes. Mit dem Fokus auf Picasso behandelt die Arbeit den Einfluss der künstlerischen Avantgarde auf die ästhetisch-poetologischen Entscheidungen des späten Rilke. Mit besonderem Interesse an der Vierten, Fünften und Zehnten Elegie bestimmt diese Arbeit den Zusammenhang zwischen Picasso und der in der Rilke’schen Lyrik erkennbaren Neigung zur Geometrisierung. Auf welcheWeise haben Rosa und analytischeWerke des spanischen Malers Rilkes Gedankengang beeinflusst, als sich seine Dichtung neuer, geometrischer Konfigurationen bedient? Was für einen Beitrag leistet Picassos Malerei bei der Entstehung von Rilkes formalem Kompromiss zwischen Mimesis und Abstraktion? Inwiefern ist Rilkes figurale Lyrik der Münchner Zeit davon abhängig? Auf welche Weise strukturieren Picassos Gestaltungsantriebe die Vorstellungswelt Rilkes, und inwiefern generieren sie eine auf die Re-Komposition vom Ich und seine von der Kontingenz zerstörten Anschauung gerichtete, dialogische Praxis? Erweist sich Picassos kombinatorische Erkenntnisdialektik von analytischer Fragmentierung und hermeneutischer Rekonstruktion auf der malerischen Leinwand als wegweisend für die Darstellung der neuen, in München konzipierten Gedankenarchitektur Rilkes? Findet Picassos Vorbild eine erkennbare Implementierung in Rilkes Elegien? Unter welchen Aspekten können sie darauf sinnstiftend wirken? Können sie einem noch schwachen, dichterischen Wort Form verleihen und Gehör verschaffen? Wo liegt Rilkes Kompromissschwelle bei der kritischen Annahme solcher Voraussetzungen? Um solche Fragen zu beantworten, präsentiert diese Arbeit eine umfangreiche Beschreibung der kontextuellen, kritischen und figurativen Antriebe, welche die Assimilation von Picassos Gestaltungsprinzipien in den nach 1914 verfassten Elegien beeinflusst haben könnten. Rilkes Verhältnis mit dem eklektischen Philosophen Rudolf Kassner wie auch dessen physiognomische Lehre und Prinzip des Opfers werden als bedeutsame Elemente für Rilkes dichterische Wandlung herausgestellt. Mit kunsttheoretisch orientiertem Fokus schlägt die Arbeit eine Reflexion über jene malerischen Vorbilder vor, welche Rilkes Interesse nach seinem Aufenthalt in Paris bei Rodin erwecken. Die Analyse stellt Rilkes bewusste Auseinandersetzung mit den neuen Avantgarde-Kompositionsstrategien heraus. Ein Vergleich dieser neuen Strategien mit Rilkes vorherigen, figurativen Eingebungen zur Zeit der Fassung von Wendung (1914) in München verdeutlicht diesen dichterischen Wandel. Durch die Analyse von zahlreichen Briefwechseln und der in Rilkes Lebenschronik (Schnack) enthaltenen, biographischen und dichterischen Elemente lässt sich Wendung als kathartisches Erlebnis, welches Wahrnehmung und Anschauung betrifft, bezeichnen. Die neue, dichterische Konfiguration beider Aspekte lässt sich auch daraus herleiten. Darüber hinaus verzeichnen Briefwechsel mit Marie von Thurn und Taxis, Lou Andreas Salome und Lou Albert Lasard Rilkes Verarbeitung vergangener Erfahrungen wie die Toledo-Reise, die Malte-Fassung, den so angestrebten, geistigen Kontakt mit dem Ding an sich und mit jener scheinbar unannehmbaren, unverständlichen, menschlichen Natur. Aus der Analyse von Rilkes Schriftverkehr hebt sich die anfangs scheue, aber wachsende Überzeugung über eine der Anschauungsgrenze innewohnende, potenzielle Öffnung für neue, wesentliche, geometrische, aber geistig intensive Ausdrucks-Möglichkeiten der Dichtung. Die Arbeit studiert mögliche, thematische Zusammenhänge zwischen der Lyrik Rilkes und einiger malerischer Werke, die in der Kriegszeit geschaffen wurden. Der wegweisende Charakter dieser Werke bei der kritischen Reflexion über Voraussetzungen und Schlussfolgerungen von Rilkes Umkehr besteht in ihrer Zugehörigkeit zu einer neuen Gedankenanschauung, welche die Avantgardezeit charakterisiert. Motivisch ähnliche Verweise lassen sich inWerken von Rudolf Kassner, Paul Klee, Cézanne,Wassily Kandinsky sowie in kritischen Beiträgen von Hausenstein und Worringer erkennen. Die strukturellen Gemeinsamkeiten und der Einfluss dieser Werke auf die Poetik Rilkes werden durch ihre Thematisierung der Ich-Suche und Ich-Überwindung deutlich. Diesen philosophischen Konflikt präsentieren sie mitunter durch figurale, geometrische Konstellationen. Sie weisen außerdem auf eine noch mögliche Zusammenführung von dem Ich mit jenem Ganzen hin. Eine solche Ausdehnung auf der wahrnehmenden sowie auf der begrifflichen Ebene ist nur abstrakt durchführbar. Die Analyse stellt heraus, dass es keine unmittelbare Entsprechung zwischen jenen ästhetischen, figurativen und kontextuellen Elementen aus dem Gedicht Wendung und der nach dem Jahr 1914 erschaffenen Lyrik Rilkes gibt. Eine graduelle Assimilation der Neigung zur geometrischen Darstellung in der Vierten, Fünften und Zehnten Elegie Rilkes lässt sich aber erkennen. Sie erweist sich als Ergebnis eines konstruktiven Dialogs zwischen Matrix und Resultat; zwischen München, wo sich Rilke zur Kriegszeit aufhielt, und Paris. Diese Stadt gestaltet immer noch Rilkes Vorstellungswelt; sie stellt die nie vergessene, ästhetische und ethische Lehre Cézannes dar. Sie stellt den Keim dar, aus dem die neuen, strukturellen Eingebungen der Avantgarde gediehen. Unter solchen formalen Vorschlägen wird Picassos formaler, kubistischer Konstruktivismus betrachtet. Darüber hinaus stellt der Vergleich zwischen immer abstrakteren Kompositionsvorbildern von Klee und Kandinsky ein gemeinsames, strukturelles Merkmal heraus, welchen auch Picasso in seinen Werken vermittelt. Rilke erkennt die Gegenwart ähnlicher struktureller Züge in ihrer ästhetischen Vision und in ihren Werken explizit nicht, aber er widerspricht ihr auch nicht. Was diese drei Avantgarde-Maler gemeinsam haben, bevor sie sich radikal abstrakteren Darstellungen widmen, hängt mit demWunsch zusammen, die dem ästhetischen Gedankengang innewohnenden Voraussetzungen, auf denen die sichtbare, malerische oder dichterische Komposition beruht, zu verändern. Bauhaus-Zeit und synthetischer Kubismus werden die radikalsten Entwicklungen einer figuralen Tendenz, die Resultat und Prozess sowie Realität und unsere Kenntnis davon nebeneinanderstellen. Künstlerische Intention und formale Antwort von Klee und Kandinsky variieren je nach individuellen Darstellungsbedürfnissen. Solche Kompositionsvorbilder beeinflussen Rilkes Verständnis des Schwellenbegriffs und dessen Anwendung bei der Formulierung der ewigen Fragen nach der künstlerischen Darstellung und ihrem Objekt. Diese Schwelle ermöglicht die flexible und durchlässige Unterscheidung zwischen Sichtbarem und Unsichtbarem, zwischen Erkennbarem und dem mithilfe einer geometrischen, sprechenden Kontur Vorstellbarem. Diese Schwelle, so merkt Rilke bei dem kritischen Vergleich mit den Avantgardetheorien, kann er überwinden, aber nie eindeutig definieren. Diese Grenze bleibt eine unbeschreibbare Entität, auf der die künstlerische Gebärde stattfindet. Die Kombination von Bewegung und Gegenbewegung zeigt das ewige Werden der Welt. Die Schwelle erlaubt dem Ich, diesen irdischen Mechanismus zu begreifen, ohne die davon betroffenen Elemente zu beherrschen. Auf dieser Sichtbarkeitsschwelle wird Rilke auf die dingliche Zerlegung aufmerksam, aber zugleich bemerkt er dessen konstruktive Natur. Durch diese seit Wendung anerkannte Grenze des Anschauens zeigt sich dem Dichter erneut jene geistige Komponente des Menschlichen, zu welcher er zuvor den Kontakt verloren hatte. Die frühe Avantgarde-Kunst lässt Rilke erkennen, dass die geometrische Figur den annehmbaren Kompromiss zwischen Mimesis und Abstraktion darstellen kann. Der Kontakt mit solcher Avantgarde-Kunst beeinflusst Rilke bei der Annahme ihrer Voraussetzungen. Aus struktureller Sicht lassen sich die neuen Kompositionsvorbilder bereits in dem von Cézanne gezeichneten Rahmen erkennen. Die Vorstellung eines erkennbaren Umrisses hängt mit dem einer freien Interaktion zwischen Innerlichkeit und Realität zusammen, welche die Avantgarde-Kunst auf der Leinwand explizit macht. Rilke transponiert diese Vorstellung in seine Elegien. Der Umriss stellt eine neue Linie des gnoseologischen Horizontes dar, welche sich in der Moderne verschoben hat; er wird zum Ort einer bereits von Cézanne bezeichneten, ontologischen Gleichheit zwischen Innen und Außen sowie zwischen Subjekt und Objekt der Darstellung. Das Ding bleibt übrigens unentbehrlicher Vermittler von einem neuen Verhältnis mit dem Ganzen, das die Malte-Krise zuvor zerstört hatte. Picasso leistet seinen Beitrag zur Verarbeitung der formalen Lösung Rilkes zwischen 1915 und 1922; er nimmt an seiner Suche nach der eigenen Rekonstruktion teil. Durch die Zerlegung auf der Leinwand beabsichtigte der Maler die wahre und bewusste Rekonstruktion seiner Anschauung. Diese Arbeit ist in vier Abschnitte unterteilt. Im ersten Kapitel wird ein Überblick über die historisch-kontextuellen Elemente gegeben, welche die Entwicklung von dem schöpferischen Akt Rilkes geprägt haben. Mit besonderem Augenmerk auf die Figur Kassners wird dem Leser eine Übersicht über das Münchner Milieu präsentiert. Das zweite Kapitel widmet sich der Beschreibung jener zur Kriegszeit verbreiteten Gestaltungsprinzipien und Theorien, mit denen Rilke in Kontakt getreten sein könnte. Das dritte Kapitel fokussiert sich auf die Voraussetzungen für seine Herzpoetik, welche sich mit diesen formalen Antrieben in einer ontologisch neuen Auffassung kombiniert haben. Das vierte Kapitel beschriebt Rilkes dichterische Schlussfolgerungen, welche aus dem produktiven Vergleich zwischen Tradition und Avantgarde entstanden. Beobachtungen über Themen und Strukturen der Münchner Elegien1 werden im Laufe der Arbeit mehrperspektivisch in Betracht gezogen und kritisch verglichen. Beim Hervorheben von Berührungspunkten und Unterschieden zwischen Rilke und der Avantgarde weist die Arbeit auf die Besonderheiten von Rilkes Weg zur Abstraktion hin und vermittelt Vorkenntnisse und neue Vorschläge in einem facettierten, undefinierbaren, kritischen Rahmen. Das Wesen der illustrierten, ästhetischen Reflexion ist, wie die von Cézanne bezeichnete Kontur der Dinge, flüssig und schillernd. Die Wiedergabe einer scheinbar fragmentierten Gedankenstruktur, in der sich Hinweise in dem Gewissen des Leser ständig neu aufstellen, fordert vom Leser selbst eine Rekonstruktion des kulturellen Horizonts, welcher für Kassner physiognomische Züge trägt und sich als sichtbarer Ausgangspunkt und als Wiederkehr des modernen Ichs vorstellt. Diese Arbeit sondiert die bisher unerforschte Begründungen, welche zur Rilkes Annahme des analytischen, kubistischen Gerüsts geführt haben.Mit der Absicht, die Gefahr steriler, formalen Klassifizierungen abzuwenden, wird in dieser Arbeit Rilkes ganz persönliches und reifes Wahrnehmungsvermögen bei der Münchner Zeit wiedergegeben. Ein breites Diskurs zwischen Dichtung und Malerei wird anhand der Hauptfiguren der ersten Avantgardezeit geführt, um die Genese eines zwischen Wort und Bild entstehenden literarischen Akt zu illustrieren. Auf der durchlässigen Grenze zwischen dieser künstlerischen Bereichen beruht die zwischen Picassos Saltimbanques und Rilkes Fünfter Elegie auftauchenden Kenntnisdialektik.

This project studies the contemporary manuscript transmission of three poems written on the 1609 death of Lady Bridget Markham. Lady Markham was the cousin of the influential courtier and patron Lucy, Countess of Bedford and her death prompted an outpouring of verses that were collected in manuscript verse miscellanies during the period. John Donne was in the process of establishing a patronage relationship with Lady Bedford at the time and wrote a respectful elegy on her cousin’s death. Francis Beaumont also wrote, for the same occasion, what has been called the most “repellent” work of the English Renaissance. That same year, Lady Bedford wrote an elegy on the death of another kinswoman, Cecilia Bulstrode, which several scribes redirected to Lady Markham. This project attends to the diverse ways contemporary verse collectors encountered, altered, and situated these poems, mediating the legacy of Markham’s death and Bedford’s patronage. The method for this project adapts elements of single-author critical editing to study the verses as a group. By organizing textual study around Lady Bedford and the death of Lady Markham, it reorients research away from the individual author towards the patron and her circle.

The purpose of this study is to make the case that Ted Hughes (1930-1998) is one of the pre-eminent elegists writing in English in the latter half of the twentieth century. Whilst his poetry has been widely criticised for its apparent preoccupation with violence and death, it is puzzling that the links these topics have in common with elegy have never been clearly verified. This might be because Hughes's elegies do not appear to bear the characteristics frequently associated with traditional poetic laments; however, as this study shows, closer scrutiny reveals not only many similarities, but also acts of resistance within the broader scope of elegy. Drawing on both established and contemporary critical debates surrounding Hughes and elegy, this study undertakes a comprehensive reading of the poet's major works from The Hawk in the Rain to Birthday Letters, whilst also paying attention to limited editions of his verse, including Recklings, Capriccio and Howls & Whispers. Posthumous publications, including the Collected Poems. Selected Translations and Letters of Ted Hughes, are accounted for. so that (alongside the chronological reading of the poems) Hughes's development as an elegist is fully realised. One of the aims of the thesis is to demonstrate that the poet's elegies are unified in presenting what I term the ‘actual'; that is to say, that Hughes does not fabricate sensations or forge experiences that purport to be beyond the realm of recognisable human endeavour. This I term his 'unfalsifying dream’. This is striking because quite often traditional elegies appear to present the opposite: a language which is ๐mate and images which are close to beatifying the deceased, putting them at a remove from human experience and existence. 'The Hawk in the Rain' is used to illustrate Hughes's theoretical position, especially in the case of his earlier war elegies and the circumstances of Remains of Elmet and Moortown Diary. He is both the observational, seemingly dispassionate poet (the hawk), capable of a detaching himself from the experience he wishes to relay in his verse, and yet, he is also the wanderer 'in the rain, one who is immersed in the momentous instant of his own language and experience. Like his personas, Hughes is divided. He is complicit with many of elegy's practices and traditions, but he is also a reformer and renovator of elegy, writing invigorating verse which brings the realities of mortality closer to the reader. In doing so, he reaffirms the significance of life and how this life might be better lived in closer harmony to poetry and contemporary ecological urgencies. 'The Elegies of Ted Hughes' aims to prove that far from being just a 'poet of nature', Hughes has been an exemplary elegist in our own time.

Though highly conventional, the funerary elegy provides poets - from the professional laureate to the functionally literate - with an opportunity to challenge political and religious leadership, patronage networks, and literary values. I reconstruct the elegy’s genealogy in classical and humanist rhetoric in Chapter 1, and associate its observance of rhetorical conventions with the conventions that govern consolation and Christian grief. I then consider how elegy participates in the symbolic and material economy of mortuary ritual, especially the heraldic funeral. The ritual context outlined in Chapter 2 suggests that elegies are primarily conservative, concerned with maintaining the social hierarchies disrupted by death. However, a selection of elegies commemorating executions confirms elegy’s equally radical potential. The felons and traitors examined in Chapter 3 derive charismatic authority from their ordeal, which they then use to contrast their own verity with that of the temporal authority that executes them. Meanwhile, their elegists reinterpret these spectacular displays of state power to the victim’s benefit, posing questions not only about that power, but about the political and judicial functions of language itself. Similarly agnostic elements are present in the critical elegies for other poets discussed in Chapter 4, which manage questions of influence, value and legitimacy especially through metaphors of coinage and sexual possession. Chapter 5 concludes with ‘private’ elegies, written mostly by women and published in manuscript for members of their own families. Through prosody, these bereaved poets enact their desire to re-embody the deceased, and to extend the process of death through the poetic management of time. In conclusion, I use historical analysis of elegiac convention and context to suggest that the genre excludes the contests as much as it celebrates and idealizes, both the dead and its own readership.

Among the variety of genres and themes found in the Exeter Book – Exeter Cathedral Library MS. 3501, Exeter – Wulf and Eadwacer (fols. 100v-101r), The Wife’s Lament (fols. 115r-115v) and The Husband’s Message (fols. 123r-123v) stand out for their similarity in content and form, all of them being poetical laments dealing with the separation of lovers. What makes these texts peculiar, however, is their having women as protagonists, and, in the case of Wulf and Eadwacer and The Wife’s Lament, their being spoken by those female protagonists. Since Benjamin Thorpe’s editio princeps of the MS. in 1842, the above-mentioned poems have been edited and largely commented upon in editions of the whole Exeter Book and in single studies, but never in the combination proposed in the present work. The aim of this thesis is to provide a critical edition taking into account all the readings proposed up to now – both in editions and in critical studies –, and a comprehensive history of the criticism on the texts in the form of a systematic classification of all the commentaries on the poems. The latter is completed by a variorum commentary, in which different interpretations and translations of crucial words and phrases are given in detail. This kind of work on the three poems in question has never been carried out, and it is needed for two reasons. Firstly, many scholars from the 1960s onwards have faced the poems without taking into account early editions and commentaries, with the result that a number of interpretations have been presented as original although they were not. Secondly, the criticism on these texts has accumulated so much that it has become necessary to operate a clear distinction between what the poems actually tell, and what critics tell about them or want them to tell.
Nella varietà di temi e generi che caratterizzano l’Exeter Book – Exeter Cathedral Library MS. 3501, Exeter – Wulf and Eadwacer (fol. 100v-101r), The Wife’s Lament (fol. 115r-115v) and The Husband’s Message (fol. 123r-123v) si distinguono in quanto poesie elegiache le cui protagoniste sono figure femminili che soffrono per la lontananza dei rispettivi amati. Nel caso di Wulf and Eadwacer e The Wife’s Lament, le voci narranti appartengono alle protagoniste stesse. A causa di queste peculiarità, i testi in questione sono stati oggetto di innumerevoli edizioni e studi critici, singolarmente o in combinazione con altre elegie antico-inglesi, fin dai tempi dell’editio princeps del manoscritto, pubblicata da Benjamin Thorpe nel 1842. Questa tesi propone un’edizione critica che raccoglie le tre poesie assieme per la prima volta, e che tiene conto, nell’apparato critico, degli emendamenti proposti dai precedenti editori (dal 1842 fino ad oggi). Presenta, inoltre, una storia della critica e dell’interpretazione dei testi in oggetto, nella quale si riassumono le letture che di essi sono state date e le loro possibili relazioni con altri testi e generi letterari. Questo lavoro ha lo scopo di fare chiarezza nella complessa storia editoriale e interpretativa delle poesie, che è necessaria per separare ciò che i testi in questione realmente dicono da ciò che editori e studiosi vedono in essi – a volte intervenendo su parole o versi anche pesantemente pur di dimostrare la validità delle loro teorie.

La presente tesi mira a investigare i modi in cui il concetto di “female agency” viene espresso all’interno della ristretta produzione poetica in inglese antico riguardante la figura femminile. Partendo dalla descrizione di come la cornice socio-politica nonché culturale dell’Inghilterra nell’era Anglo-Sassone concepiva l’idea di “female performativity”, andremo a vedere in che modo le donne erano allo stesso tempi assenti (data la loro invisibilità narrativa) e presenti (grazie alle loro voci). L’identità di genere di queste poesie dipende anche da alcuni indizi linguistici, dal momento che elementi sia morfologici che semantici sono stati spesso chiamati in causa nelle analisi dei testi con l’obbiettivo di individuare un possibile linguaggio femminile contrapposto a quello maschile. Le parole di queste anonime donne risuonano in particolar modo nelle due notoriamente ambigue elegie contenute all’interno dell’Exeter Book, manoscritto che doveva presumibilmente rappresentare un manuale di linee guida per le figure più emarginate nella società Anglo-Sassone (e le donne erano sicuramente considerate tali all’epoca). The Wife’s Lament e Wulf and Eadwacer sono state quindi da lungo tempo oggetto dei più disparati dibattiti accademici, specialmente riguardo il loro vago contesto e la questione del punto di vista narrativo. Essendo dunque una straordinaria e rara testimonianza di due voci femminili in un mondo incentrato sull’importanza delle gesta eroiche, vedremo come queste poesie furono oggetto delle più svariate interpretazioni, e in che modo l’idea di “female agency” è stata articolata attraverso di esse, suggerendo un modello di comportamento ritenuto socialmente accettabile per le donne in epoca Anglo-Sassone.

The various sections of this thesis are interconnected by a sense of inescapable misery. The second section works as a bridge in that sense, connecting the misery of home and abroad. Quite fittingly, W.E.B. du Bois, who toward the end of his life acquired Ghanaian citizenship (he died and is buried in Ghana), serves as the major influence from which the connective (t)issues explored in the various sections are drawn. After the du Bois tradition of examining shared black experiences, the bridge section (II) of the thesis has his words for a title. At the heart of these poems and within the pursuit of a clear image lies the question posed by W.E.B. du Bois in The Souls of Black Folk, “For where in the world may we go and be safe from lying and brute force?”

Christopher Marlowes narrator-lover in Ovids Elegies increasingly embodies an epitome of conventional ideology. As I study Ovids Elegies and Marlowes poetics of subjectivity, I specifically address how the narrators inability to find the truth about himself, about love, and about the value of poetry reveals his gross misconceptions of his own contrived and illusory subjectivity, particularly the way in which his ill-conceived notions misrepresent love and poetry. That is, he cannot discover from his experience a personal identity and subjectivity. Without the ability to define himself, to embody feelings more substantive than his desire for sexual gratification and masculine conquest, the narrator cannot achieve self-knowledge, let alone self-mastery. In short, he lacks virtus. While Marlowes narrator repeatedly enters a liminal space wherein he recognizes a necessary advancement toward virtus within the symbolic order, he invariably collapses back upon his imaginary order, and he volitionally maintains a state of psychic stasis.

Many of the most enduring and influential elegies are those written in memory of other poets. Elegies for poets have always served a fascinating range of both private and public functions. This thesis establishes some of the forms taken and functions served by elegies for poets since W. H. Auden's landmark elegy "In Memory of W. B. Yeats" (1939) to the present day. Such poems are Janus-faced, simultaneously casting back into the past and projecting into the future. Although often radical in form and critical in tone, twentieth-century elegies for poets are also deeply concerned with tradition, and frequently seem to act as a synecdoche of the entire poetic canon, transmitting the legacy of the dead poet to a new generation of poets. This thesis examines the figuration of the dead poet in relation to the literary and political contexts of both elegist and elegized, defines the extent to which elegies for poets crystallize the processes of poetic inheritance, and tests how the elegiac relationship between a precursor and their successor (as in the case of W. B. Yeats and W. H. Auden) differs from the dynamic which may exist between contemporaries (as in the case of John Berryman and Robert Lowell). Such poems form a chain of commemoration and inheritance. Each link is independent and can be taken in isolation, but when seen as part of the chain, it signifies a larger purpose and has a correspondingly greater strength. Finally, by focusing on these elegies as crucial moments of both celebration and usurpation, this thesis demonstrates that one can trace a kind of genealogy of poetry through what Helen Vendler has described as the "golden links of elegy.".

Le poete elegiaque maximianus, un temps confondu avec gallus, serait bien un poete du sixieme siecle ap. J. C. , en raison de l'allusion a boece et de l'apport de la tradition manuscrite. L'etude de ce recueil de six elegies met en evidence l'existence d'une structure formelle s'organisant autour de la peinture des echecs amoureux d'un narrateur qui, au soir de sa vie, en appelle a la mort. L'edition de ce recueil, dont la tradition manuscrite est extremement complexe, repose sur un choix eclectique au sein de cette tradition, en conservant le plus possible le texte des manuscrits. Elle comporte un apparat critique positifle texte retenu etant justifie par un commentaire critique-ainsi qu'une traduction en francais des elegies
The elegiac poet maximianus, for a period mistaken for gallus, might well be a sixth ad century poet, owing to the reference to boethius and the contribution of the manuscript tradition. The study of this collection of six elegies underlines the existence of a formal structure centered around the descripti on of the unhappy love experiences of a narrator who, on the eve of his life, calls for death. The edition of this collection, related to the very complex tradition of manuscript writing, is based on an eclectic choice in this tradition, retaining as much as possible of the original manuscript texts. It contains a positive apparatus criticus choice of the text being justified by a critical commentary and also a french translation of the elegies

This dissertation focuses on three of Busoni’s late orchestral works known as “orchestral elegies”: Berceuse élégiaque (Elegie no. 1, 1909), Gesang vom Reigen der Geister (Elegie no. 4, 1915), and Sarabande (Elegie no. 5, 1918-19). The study seeks to provide a better understanding of Busoni’s late style as a crucial bridge from late nineteenth-century chromaticism in the works of Liszt, Wagner, and others to the post-tonal languages of the twentieth century. At the heart of this study lies a particular concept that forms the basis of many characteristic features of Busoni’s late style, namely the concept of polyphonic harmony, or harmony as a cumulative result of independent melodic lines. This concept is also related to a technique of orchestration in which the collective harmony is sounded in such a way that the individual voices are distinct. In the highly personal tonal language of Busoni’s late works, passages often consist of a web of motives weaved throughout the voices at the surface level of the music. Linear analysis provides a means of unravelling the dense fabric of voices and illustrating the underlying harmonic progressions, which most often consist of parallel, primarily semitonal, progressions of tertian sonorities. Chapter 1 provides a backdrop for this study, including a brief summary of Busoni’s ideas on the aesthetics of music and a summary of his influence and development as a composer. Chapter 2 addresses the concept of polyphonic harmony in more detail, some theoretical ideas related to it, and characteristics of Busoni’s late style that reflect this concept. Chapter 3 is dedicated to analytical methodology, addressing concepts which emerge from various linear approaches to the analysis of some twentieth-century music. Chapters 4, 5, and 6 are each dedicated to a specific work, the purpose being to illuminate through linear analysis compositional characteristics and techniques related to the concept of polyphonic harmony, including the flexibility between the melodic and harmonic realms, chord misalignment, overlap, and superposition.

No final do século I a.C., a Elegia Erótica Romana desafiou os gregos e as convenções poéticas apresentando um poeta-amante que cantava suas aventuras amorosas em primeira pessoa. Como se isso não bastasse, esse eu-elegíaco se dedicava à puella como se tal tarefa fosse uma militia, um seruitium amoris, e que exigia tempo integral. Galo, Propércio e Tibulo nos apresentaram suas dominas e se negaram a servir à pátria. Ovídio foi além: seguiu seus predecessores mas fez com que seus leitores aprendessem a entender o papel de cada uma das normas na construção desse gênero. Escreveu seu primeiro livro, Amores, e , a partir daí, começou a traçar um caminho ascendente: queria sua Elegia elevada, não apenas média. Para isso, produziu recusationes, elegias programáticas e, o mais importante, confluiu gêneros. Fez uso da Epistolografia, da Retórica, da Didática e de personas e exempla míticos para compor Heroides, Ars amatoria e Remedia amoris. Nesta dissertação, mostra-se a trajetória do poeta na elevação da Elegia Erótica de Ovídio.
At the end of the 1st. century b.C., Latin Erotic Elegy challenged Greeks and poetic conventions when portrayed a man, poet and lover, talking, in the first person, about his adventures: he also dedicated himself to a puella as if it were a militia, his seruitium amoris, which was a full-time job. Gallus, Propertius and Tibullus introduced us to their dominas and did not (want to) serve their nation. Ovid did more than that: he followed his predecessors but made his readers learn the role of each of the principles of the genre. He wrote his first book, Amores, and, from then on, delineated an ascendant path: he wanted his Elegy to be high, not only something that depicted an average subject. In order to achieve it, he composed recusationes, programmatic elegies and, most important of all, he converged genres: he was able to use Epistolography, Rhetoric, Didactic and mythological personas and exempla to write Heroides, Ars amatoria and Remedia amoris. In this dissertation, we show his trajectory in the elevation of Ovids Erotic Elegy.

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Propõe-se uma tradução literária da obra do escritor romano antigo Álbio Tibulo e um comentário-estudo que revele, simultaneamente, aspectos das elegias do poeta e um pouco do passo a passo da tradução, da engenharia de sua construção. Em um quadro assim, pressupõe-se a gênese concomitante de tradução e comentário, uma vez que um é pretexto e argumento para a existência do outro. No interior do comentário, a obra de Tibulo e as escolhas de tradução surgem lado a lado, em um só movimento. Para a confecção de tal proposta, esta pesquisa aponta, como artifício necessário e enriquecedor, o trabalho tradutor-literário como fruto de teoria da tradução, de alguns estudos críticos sobre Tibulo e a poesia antiga e da leitura de comentários filológicos às elegias do poeta clássico. Da reunião e leitura de material desse tipo, espera-se construir o entendimento de aspectos das elegias de Tibulo e do projeto de versão constante destas páginas, além de cooperar para a compreensão do gênero elegíaco antigo entre nós.

This thesis argues that Donne's Elegies and Songs and Sonnets found a readership trained to appreciate his words. It draws on the work of Wolfgang Iser. Iser particularly looks at the importance of a text providing a space in which the reader can imagine possibilities that extend his or her world. It is through voices that Donne connects with his readers, and creates worlds and spaces that they can explore. As his poetic control matures, Donne increasingly lives inside the poetic worlds he creates. At first, in the Elegies, his speaker is the societal observer and participant. Through this speaker, Donne will increasingly seek to educate his readers, and have them imagine new ways to approach life and love. In the Elegies, women will be the touchstone against which men measure their worth. In the Songs and Sonnets the speaker develops to be Donne himself, and the measure of worth will change to be the prospect of an androgynous, balanced, constant love. Donne explores the nature of what such a reciprocal love might look like, pushes rhetoric almost to breaking point, and seeks poetic solutions to the questions a challenging world poses. It is Donne's developing awareness of the power of voice that allows him to structure his world, finally face the agonizing loss of Anne, and contemplate a life with God. An awareness of biographical context will at times help to more fully understand his poetry. And it is voices, both real and imagined, that offer the reader the chance to participate in making meaning in that poetry.

Thesis (Ph. D.)--University of Missouri-Columbia, 1996.
"This dissertation is a combination of a critical essay and an original collection of poetry" -- P. ii. Typescript. Vita. Includes bibliographical references (leaves 42-43). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1996.
"This dissertation is a combination of a critical essay and an original collection of poems" -- P. [i]. Typescript. Vita. Includes bibliographical references (leaf 18). Also available on the Internet.

Les Elegies de Jean Doublet, poète dieppois du XVIe siècle, revêtent un double intérêt : un intérêt national dans la mesure où elles s'inscrivent dans la mouvance de la Pléiade, et un intérêt régional par la défense de la culture normande et des thèmes qui y sont associés. Cette première édition scientifique est précédée d'une étude littéraire, historique et linguistique qui propose d'approfondir trois axes majeurs du recueil : l'innovation poétique, et plus particulièrement la définition du genre élégiaque par Jean Doublet, sa contribution à l'illustration de la langue française et les recours variés à la langue normande, ainsi que les différentes figures lyriques du poète, développées dans le recueil. Émule de la Pléiade, Jean Doublet concilie son ambition de participer à l'illustration d'une langue et d'une poésie nationales avec son désir de préserver les traditions poétiques et culturelles normandes (notamment les concours palinodiques des Puys)
Les Elegies by Jean Doublet, a XVIth century poet from Dieppe, take on a double interest : a national interest, as they are in line with the sphere of influence of the Pleiad, and a regional interest by the defense of Norman culture and associated topics. This first critical edition is preceded by a literary, historic and linguistic study which examines three major themes of the collection : poetic innovation, and more particularly the definition of the elegiac genre by Jean Doublet ; his contribution to the illustration of the French language and the varied recourses to the Norman language ; and the various lyric figures of the poet, developed in the collection. Emulous of the Pleiade, Jean Doublet reconciles his ambition to be involved in illustrating a national language and poetry with his desire to preserve the Norman poetic and cultural traditions (including Puy's poetry competitions)

In a critical climate that privileges the hermeneutic position of a reader of a text over the irretrievable intentions of its author, this thesis challenges the status quo by considering the elegist Propertius as his own first reader. Through an exploration of what I have called 'mindful reading' - how Propertius appears to engage intratextually with his own poetic material, recasting parts of it lexically and thematically - alongside his interaction with the works of his peers and predecessors and wider cultural discourses, we, as readers, are able to appreciate how he may have understood aspects of his own poetry at a given moment. This particular mode of reading is encouraged, in part, by the repeated treatment of certain themes and ideas by Propertius, and, most conspicuously, by the inherently repetitive nature of the amorous discourse in which he is implicated with Cynthia. There are seven chapters. (1) A rhythm of intratextual reading is established in the generically important funerary elegies of Book I, setting this against the poet's amatory discourse. An analysis of II.i shows that mindful reading is a phenomenon that occurs between, as well as within, books. (2) Consideration is given to editorial division of the canonically named 'Book II', and the ordering of poems; the latter part of the chapter considers the important programmatic elegy, II.xiii. (3) A close reading of III.i and III.ii, and their response to Propertius' predecessors and contemporaries is considered, particularly through a (re)reading of II.xxxiv. (4) Poems treating lovers' brawls and lucubratio are discussed. (5) Propertius' engagement with Maecenas, and his continued adherence to his poetic creed are explored in III.ix and III.x. (6) The notion that Propertius appears to 'un-write' his amatory discourse with Cynthia through mindful reading in the closing cycle of Book III is treated. (7) The place of Cynthia within Book IV, and the elegist's generic explorations are explored through mindful reading.

Thesis (M.A. in English)--S.M.U.
Title from PDF title page (viewed July 20, 2007). Source: Masters Abstracts International, Volume: 44-05, page: 2104. Adviser: Willard Spiegelman. Includes bibliographical references.