Дисертації з теми "Poetic word"
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Murray, Dufferin A. "From the word up, the poetic message of rap music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ30813.pdf.
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Doherty, Justin Francis. "Culture and the word : aspects of Acmeist poetic theory and practice." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305691.
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Maloney, Leslie Don Bellinger W. H. "A word fitly spoken poetic artistry in the first four acrostics of the Hebrew psalter /." Waco, Tex. : Baylor University, 2005. http://hdl.handle.net/2104/3002.
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Michelson, Helena. "I. Music and poetic word : the romances of Sergei Rachmaninoff ; II. A journey metamorphosed for orchestra /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2003. http://uclibs.org/PID/11984.
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Bradburd, Douglas. "Word Blind." ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/354.
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Liebel, Dorothea. "Tageslichtfreude und Buchstabenangst : Zu Harry Martinsons dichterischen Wortbildungen als Übersetzungsproblematik." Doctoral thesis, Umeå universitet, Institutionen för språkstudier, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-18459.
Повний текст джерелаАнотація:
The style of the Swedish writer Harry Martinson is characterised by a large number of conspicuous and creative word-formation units, which have a special function in his writing. One single word might summarise and denominate an experiance or a complex emotion, sometimes using an exact description, sometimes using a metaphor. The content and the novelty of such nonce forms catch the reader´s or listener´s attention, achieving the intended effect: to make the reader understand what Martinson wants to convey. The present study is an analysis of the neologisms used in two of Martinson´s semiautobiographical novels and their German translations. The object of the study is twofold: firstly to show that the great variety of nonce words-formations as well as their semantics provide the special stylistic markers of the texts, and secondly to draw more general conclusions about the effect of target languages regarding the form, content and function of the units in the texts, as well as their effect on the reader, the concept of equivalence is central. Correspondences and deviations are analysed applying a model specifically designed for the purpose and based in relevant theories. The results illustrate both the various problems a translator must seek to solve and the consequences that simplifications, omissions, and paraphrases might have on the meaning and effect of the text.
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Gonçalves, Roberta Andressa Villa. "Entre a potência e impossibilidade: um estudo da poética de Orides Fontela." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-14012015-183422/.
Повний текст джерелаАнотація:
O presente trabalho analisa a obra completa de Orides Fontela, com um total de cinco livros publicados entre 1969 a 1996, observando os processos de continuidade e ruptura ao longo de seu percurso. Buscou-se compreender como se estabelecem os seus mais notórios procedimentos estéticos, a tensão entre a palavra e o silêncio, a fixação pela luz, a constituição de seu sujeito lírico oculto, a densa presença de elementos da natureza e o trabalho conciso a partir de um peculiar repertório simbólico-metafórico. A análise e a interpretação de tais procedimentos permitiram observar como a poética orideana oscila entre a sensação de potência e impossibilidade. Para tanto, investigou-se a organização das inter-relações figurativas entre os poemas e como o emprego de pares antitéticos e ideias paradoxais contribuem para a riqueza de significação alcançada. A contínua transposição poética, entre a água e o sangue, o voo e o pouso, o céu e o abismo, a vida e a morte, tende a produzir uma camada de sentido subterrânea, que para além da aparente transcendência e extemporaneidade da autora, comunica-se com a historicidade de seu tempoThe present work analyzes the collection of Orides Fontela, which result a total of five published books from 1969 to 1996, observing the processes of continuity and rupture all over this route. We were looking for a understandable search for their most important aesthetic procedures, about the tension between word and silence, the fixation by lucidity, the constitution of its occult lyrical subject, the dense presence of nature elements, and the concise employment from a peculiar repertoire symbolic and metaphorical. The analysis and interpretation of such procedures about this poetic allowed to observe the oscillation between the sense of power and impossibility. To this end, we investigated the figurative organization of interrelationships between poems and how they use the antithetical pairs and the ideas paradoxical that contribute to the richness of meanings reached. The continuous poetic transposition between water and blood, flight and landing, the sky and the abyss, life and death, tends to produce a layer of sense subterranean, that beyond the author´s apparent transcendence and extemporaneity, communicates with the historicity of her time
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Colvett, Margaret G. "The World by Memory and Conjecture." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/190.
Повний текст джерелаАнотація:
The World by Memory and Conjecture collects thirty poems written and refined over the course of two and a half years. An analytical essay discussing the reading and writing of poetry as a medium, with reference to ancient and contemporary poets, is included.
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Borhani, Maya Tracy Elizabeth. "Brocading the world : a poetic inquiry." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44852.
Повний текст джерелаАнотація:
An exploration of poetry at play in one woman’s life, this poetic inquiry seeks to highlight existing relationships between language, poetry and poiesis, life long learning, and a pedagogy of lived experience. This thesis inquires a/r/tographically into some of the relationships between inner knowing, self-expression, the poetic arts, and the value of their confluence for pedagogical practice. As witnessed through the roles of artist (poet and writer), researcher (academic and community), and teacher (visiting artist in the classroom and community educator), I explore what it means to live and learn poetically – as writer, poet, performer, social researcher, and educator. The resulting métissage of poems, autobiographical life writing, and analysis documents the pedagogical intermingling of persona and life activities, using poetic inquiry to (re)present the practice and process of learning in and through the arts, art-making, and teaching. This represents a journey through physical places, actual experiences, the author’s heart and mind, and pedagogy as “a poetic, emotional, personal, spiritual commitment and experience” (Leggo, 2005, p. 439), exploring the value of these processes to learning, teaching, and living skills. Also investigating poetry as practice, in place, and through multiple sites of learning, observed within an ongoing aesthetic of poetical engagement in the world, this view of poetry in research and praxis emphasizes "curriculum" not as a pre-defined set of steps to a pre-determined outcome, but as exploration emphasizing process rather than end product. This brocade of words further investigates poetry as an essential pedagogical tool, suggesting that through poetry, language, learning, and teaching become journeys of self-exploration and creativity, no longer separating “arts” from “humanities,” nor learning from imagination and self-expression.
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Hsu, Li-Hsin. "Emily Dickinson's poetic mapping of the world." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7573.
Повний текст джерелаАнотація:
This thesis investigates Emily Dickinson's spatial imagination. It examines how her poetic landscape responds to the conditions of modernity in an age of modernization, expansionism, colonialism and science. In particular, I look at how the social and cultural representations of nature and heaven are revised and appropriated in her poems to challenge the hierarchical structure of visual dominance embedded in the public discourses of her time. Although she seldom travelled, her writing oscillates between experiential empiricism, sensationalistic reportage, and ecological imagination to account for the social and geographical transition of a rapidly industrialized and commercialized society. The notion of transcendence, progress and ascension in Enlightenment and Transcendentalist writings, based upon technological advancement and geographical expansion, characterized the social and cultural imagination of her time. Alternatively, an increasingly cosmopolitan New England registers a poetic contact zones as well as a Bakhtinian carnivalesque space, in which colonial relations can be subverted, western constructions of orientalism challenged, and capitalist modernity inflected. Dickinson voiced in her poems her critical reception of such a phantasmagoric site of a modern world. I explore how her cartographic projection registers the conflicting nature of modernity, while resists the process of empowerment pursued by her contemporary writers, presenting a more dynamic poetic vision of the world. In the first chapter, I explore her use of empirical mapping as a poetic approach to challenge the Enlightenment notion of progress and modernity. I look at her poems of social transitions, especially her poems of the Bible, the train, the pastoral, and the graveyard, to show how she addresses the issue of modernization. Her visit to Mount Auburn and the rural landscape movement are explored to show her complex poetic response toward modernity. In the second chapter, I focus on her poems of emigration and exploration to see how she appropriates frontier metaphors and exploratory narratives that dominated the discourses of national and cultural projects of her time. The colonial expeditions and national expansionism of her time are examined to show her revision and deconstruction of quest narratives. In the third chapter, I examine her commercial metaphors in relation to cosmopolitanism. I discuss her metaphors of tourism to see how her poems are based upon the notion of consumption as a poetic mode that is closely related to the violence of global displacement and imperial contestation. Her tourist experiences and reading of travel writings will be examined to show her critical response towards the dominant visual representations of her time. In the last chapter, I explore her poems of visitation and reception to show her elastic spatial imagination through her notion of neighbouring and compound vision. In particular, I discuss her poetic reception and appropriation of the theories of Edward Hitchcock and Thomas De Quincey. I conclude suggesting that her spatial imagination reveals her poetic attempt to account for the conditions of modernity.
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Olivastri, Valentina. "Antonio Pistoia : the poetic world of a customs collector." Thesis, University College London (University of London), 2000. http://discovery.ucl.ac.uk/1349290/.
Повний текст джерелаАнотація:
The object of the present study is Antonio Pistoia (1436? - 1502), a jocular poet and customs collector who worked mainly in Northern Italy. Although his reputation as a notable literary figure has suffered from neglect in recent times, his work was appreciated by and known to his contemporaries including Pietro Aretino, Ludovico Ariosto, Matteo Bandello, Francesco Berni and Baldesar Castiglione. Research on his life and work came to a halt at the beginning of this century and since then he has failed to attract significant attention. The present study attempts to review and re-examine both the man and his work with a view to putting Antonio Pistoia back on the literary map. My thesis is based on the idea that a poet can be explored from various points of view and with different methodologies tailored to the objects under investigation. In the case of Pistoia a biographical history alone or an interpretation of his work alone would provide only partial results. By combining the two I have attempted to see how he and his work fitted within the cultural scene, the social and historical setting of Renaissance Italy in a period of political and military crisis. Based on archive work and on new textual material retrieved from a number of European libraries, this study challenges and tests widely held theories concerning both his biography and his literary production. By collecting fresh references and winnowing old ones, it throws new light on a series of specific issues from matters of identification relating to the poet's life, the critical fortune of his collection of sonnets, his play Panfila and other minor works, and to problems of uncertain authorship, including poems of undisputed, doubtful and arbitrary attribution; the final section is devoted to his Canzoniere, its composition and the tradition to which it belongs and a thematic and stylistic overview of his poems. A codicological analysis of the allegedly autograph manuscript and a listing of Pistoia's archival documents, manuscripts and early printed sources, completely assembled for the first time and comprehensive of additional new findings, conclude the study.
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Borges, Lígia de Moura. "Tecendo o sopro do narrador." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-07072017-103519/.
Повний текст джерелаАнотація:
Este trabalho está centrado na Arte de Contar Histórias e o sopro do narrador, fundamento da vocalidade poética. Ao pensar nos diversos caminhos possíveis para a sua composição, foi aprofundada uma visão direcionada para o entrelaçamento das experiências subjetivas com a própria narrativa. Essa é uma vereda que tem como base a Palavra Viva, proveniente dos narradores tradicionais, onde é ressaltado o seu aspecto artesanal. Paralelos com a contemporaneidade foram cercados, assim como imagens e metáforas, dentre os quais se destacam a criança, o peregrino e o selvagem, que permeiam a reflexão sob ângulos diversos. Para abordá-los é sugerida a ideia de despreparo que se contrapõe a uma ideia de formação mais linear e acentua o chamado à experiência.This work is centered on the Art of Storytelling and the breath of the narrator, the foundation of the poetic vocality. In thinking about the different possible paths for its composition, a vision was focused on the intertwining of subjective experiences with the narrative itself. This is a path based on the Living Word, from the traditional narrators, where their artisan aspect is emphasized. Parallels with contemporaneity have been surrounded, as well as images and metaphors, among which the child, the pilgrim and the savage stand out, which permeate the reflection under different angles. To address them is suggested the idea of unpreparedness that opposes a more linear idea of formation and accentuates the call to experience.
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Romon-Alonso, Mercedes. "H.D. : sublimity and beauty in her early work (1912-1925)." Thesis, Durham University, 1998. http://etheses.dur.ac.uk/4691/.
Повний текст джерелаАнотація:
The purpose of this thesis is to study the poetry written by H.D. between 1912- 1925 in relation to two Romantic categories: beauty and sublimity. I shall attempt to show how H.D. subverts and revises the Romantic sublime offering alternatives that can be identified with a "female sublime". A direct consequence of such revision will be her commitment to beauty, which acts in her poems as a generative drive. Her understanding of beauty will be shown to have its roots in Sappho, Plato and the Victorian Hellenists, among others, and to have undergone analogous transformations to those of sublimity. Chapter I reopens the debate around Imagism and Imagist poetry showing that the problem of defining what Imagism is or was originates in the overwhelming authority of theory versus praxis. My goal is to deconstruct the critical fallacies on which Imagism has been built and to free the poetry which it represents. This allows me to question the myth of H.D. as "Imagiste" and to open her early poetry to new readings and interpretations. In Chapter n, I review the theoretical background to the aesthetics of the sublime represented by Longinus, Burke, Kant and Wordsworth. I also establish the critical frame within which this research will take place, drawing on Thomas Weiskel, Patricia Yaeger and Joanne Diehl. I initiate a study of sublimity in H.D.'s first volume, Sea Garden, and show the alternative treatment that this Romantic genre receives from this female poet. H.D.'s revisions of the Romantic sublime take us in Chapter m to a study of her poetics, as presented in her essay "Notes on Thought and Vision". I discuss a variety of sources for the composition of these "Notes", such as Havelock Ellis' influence, H.D.'s letters to John Cournos and her friendship with D.H. Lawrence. I show how H.D. understands artistic and poetic creativity as 'vision' and how the recovery of the abject female body allows her to formulate a notion of creativity that transcends gender. Chapter IV, pursues H.D.'s transformations of the Romantic sublime in Hymen, and presents Sappho as a model for the fusion of sublimity, love and eroticism in the poems of this volume. Chapter V begins with a theoretical discussion surrounding the aesthetics of the beautiful in relation to Chapter II. It continues with H.D.'s understanding of beauty within her essays, in particular, "Responsibilities", "Notes on Thought and Vision" and "Notes on Euripides, Pausanius and Greek Lyric Poets". In the light of recent work on Pater's masculine model of Hellenic beauty, I discuss H.D.'s own configuration of beauty.
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Pate, Spencer Cawein. "Poetic Justice: Rediscovering the Life and Work of Madison Cawein." Miami University Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1301406828.
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Guedes, Maria Helena de Sousa. "Round the kitchen table: the poetic work of Joy Harjo." Master's thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/11944.
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Mestrado em Línguas, Literaturas e CulturasThis dissertation aims to explore the human and cultural heritage of North American Indigenous communities, through the example of the poetry of Joy Harjo, in order to increase understanding and respect for the diversity of life supported by the sharing Mother, the Earth. In the attempt to ponder a pluri-dimensional viewing of the world, an approach will be developed in the context of American Indian cultural expression, particularly the contemporary poetry of Joy Harjo, of Muskogee-Creek descent, who suggests a dialectics of spirituality to help human beings in the search for responses to issues and dilemmas both of American Indians and the global multicultural human community. In this process, she focuses on the dynamics of interrelationships combined with personal and collective activism. By sharing ideas and attitudes as well, everyone can learn how to cultivate and educate an awareness of responsibility towards dignifying and valuing diversity. To sum up, in accordance with the crucial role of literature in the evolution of human interrelationships with less social tension and fewer conflicts, by cultivating the dialectics of spirituality articulated by Harjo, human beings can share life in harmony and justice at the same time as we maintain a balanced coexistence with other elements and beings. This dissertation is composed of an introduction and theoretical contextualization of the theme in Part I, an interpretative study of Joy Harjo’s poetry in Part II, and the conclusion in Part III.
O presente trabalho propõe-se aprofundar o conhecimento do património humano e cultural das comunidades Indígenas Norte-Americanas, por intermédio do exemplo da poesia de Joy Harjo, para melhor compreender e respeitar a diversidade da vida gerada pela Mãe em comum, a Terra. Ao procurar refletir sobre uma visão pluridimensional do mundo, será desenvolvida uma abordagem no contexto de expressão cultural Índia Americana, ou Ameríndia, particularmente a poesia contemporânea de Joy Harjo. A poetisa de ascendência Muskogee-Creek sugere que, pela dialética de espiritualidade, os seres humanos encontrem caminhos para resolver questões e dilemas das comunidades Índias Americanas e da comunidade humana multicultural global. Seguindo este processo, vai dar relevância à dinâmica das interrelações que inclui intervenção pessoal e coletiva. Na partilha de ideias e, também, de atitudes, as pessoas podem conhecer como cultivar e educar uma consciência de responsabilidade pela dignificação e valorização da diversidade. Finalmente, concordando que a literatura tem um papel crucial no desenvolvimento de interrelações humanas com menos tensão e menos conflitos sociais, pondo em prática a cultura dialética de espiritualidade exposta por Joy Harjo, a humanidade pode viver em comum com harmonia e justiça, em equilíbrio com todos os outros elementos e seres vivos que existem à nossa volta. Esta dissertação é composta por uma contextualização teórica do tema e introdução, a Parte I, um estudo interpretativo da poesia de Joy Harjo, a Parte II, e pela conclusão, a Parte III.
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Westover, Daniel, and William Wright. "The World Is Charged: Poetic Engagements with Gerard Manley Hopkins." Digital Commons @ East Tennessee State University, 2016. https://www.amzn.com/1942954204.
Повний текст джерелаАнотація:
The discovery of Gerard Manley Hopkins's poetry in the twentieth century was a revelation for postwar poets, who discovered in both Hopkins's style and subject matter a voice seemingly bottled for their own time. This influence has not faded in the twenty-first century; in fact, it has grown all the more pervasive as poets from many backgrounds and nations have found, in the voice of this nineteenth-century Jesuit, a revolutionary way of addressing contemporary concerns relating to human imagination, ecology, "green" ethics, the role of art, and individual spirituality. The poets collected in The World Is Charged: Poetic Engagements with Gerard Manley Hopkins engage with Hopkins in diverse ways. Some mention Hopkins or address some aspect of his life. Others channel his innovative poetics or address important Hopkinsian themes. All demonstrate the centrality of his influence in contemporary poetry. Unfortunately, critics have mostly neglected the importance of Hopkins as a contemporary model, instead pinning his influence to the early twentieth century. In a climate where high modernism, Whitmanic free verse, and the confessional lyric are often held up as contemporary poetry's dominant forerunners, this book proposes a more complex genealogy, tracing back to Hopkins and his influential early admirers current strands of emotional and spiritual openness, pleasure in word play and sonic textures, and veneration of the dynamic material world.https://dc.etsu.edu/etsu_books/1156/thumbnail.jpg
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Lunn, Nicholas P. Heimerdinger Jean-Marc. "Word-order variation in biblical Hebrew poetry : differentiating pragmatic poetics /." Carlisle : Paternoster press, 2006. http://catalogue.bnf.fr/ark:/12148/cb410779456.
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Koster, Cees. "From world to world : an "armamentarium" for the study of poetic discourse in translation /." Amsterdam : Rodopi, 2000. http://catalogue.bnf.fr/ark:/12148/cb40940120r.
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Le, Dressay Anne M. "Word and world the validity and limitations of a Heideggerian perspective on the poetry and poetics of Gerard Manley Hopkins." Thesis, University of Ottawa (Canada), 1988. http://hdl.handle.net/10393/5168.
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Yao, Huey-Fen Fay. "‘He sang the story’ : narrative and poetic identity in Keats’s work." Thesis, Durham University, 2011. http://etheses.dur.ac.uk/3350/.
Повний текст джерелаАнотація:
Story-telling is a mode central to the practice and achievement of John Keats. In ‘Sleep and Poetry’, he refers to life as ‘The reading of an ever-changing tale’. This line suggests his sense of the centrality of narrative to human experiences. Yet the Keatsian narrative is as a medium for Keats to investigate the nature and development of his poetic identity. His idea of poetry and of the poet, and his narrative figuring of himself as a poet are my subject, as they are his, when in the phrase the thesis takes for its title Keats writes of a poet in Endymion, ‘He sang the story up into the air’ (II, 838). Recent scholarship has interpreted Keats’s narrative techniques in different ways. Critical approaches have modified the Bloomian concept of the anxiety of influence by using a reader response approach, or have taken on board or swerved from a McGannian New Historicist perspective. In the process Keats’s formal achievement, once celebrated by critics such as Walter Jackson Bate and Helen Vendler, has received comparatively little attention. This thesis, adopting ideas and approaches associated with narratology (including its application to lyric poetry), analyses Keats’s poetic career, focusing on the poetry’s narrative techniques and its treatment of the narrator’s role. My approach might be described as aiming to accomplish a ‘poetics of attention’. This thesis consists of eight chapters. Chapter one discusses ‘I stood tip-toe upon a little hill’ and ‘Sleep and Poetry’, poems that are crucial in understanding Keats’s use of narrative to explore his poetic identity. In chapter two, concentrating on Endymion’s enactment of imaginative struggle, I attempt to show the purposeful function of the poem’s ‘wandering’ and complex narrative structure, which allows Keats space to develop and examine his beliefs about mythology, beauty, and visionary quest. Chapters three and four examine narrative techniques and the narrator’s role in ‘Isabella; or, The Pot of Basil’ and ‘The Eve of St. Agnes’ as Keats questions the nature and function of ‘old Romance’, even as he employs it, thus bringing a modern self-consciousness to bear on his task. Chapters five and six are devoted to the narrativity shown in the odes. Such an exploration of the ‘lyric narrative’ seeks to shed new light on our understanding of Keats’s odes. Chapter seven considers the ambivalence that Keats creates in ‘Lamia’. Lamia’s enigmatic identity as a woman and a serpent makes the narrative complex and the narrator perplexed. Chapter eight analyses ‘Hyperion: A Fragment’ and ‘The Fall of Hyperion: A Dream’, arguing that Keats uses these two poems as narratives to explore his idea of poetry and of the poet. In his short creative life, Keats demonstrates different and various narrative skills. These narrative skills shape his ideas and ideals of poetry as well as of the poet. Via his use of narrative, we are able to see the evolution of his poetic identity. He presents himself as what he recommended a poet should be, a shape-changing figure, who might be best described as a ‘camelion Poet’.
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Hamid, Kabir. "Word is Born: Critical Gaps and the Poetics of Hip-Hop." Oberlin College Honors Theses / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1411127767.
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Elias, Joan-Ignasi. "La Poètica del silenci i la poesia catalana del segle XX." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/383062.
Повний текст джерелаАнотація:
El plantejament del treball es fa partint de dues constatacions: l'estudi del silenci requereix una visió interdisciplinària i parlar-ne constitueix una paradoxa en si mateix. L'aproximació es realitza tenint en compte la seva gran rellevància en l'art en general i en la poesia en particular, en què la seva influència ha estat decisiva, especialment a partir del segle XX.
Al llarg d’aquest treball volem ressaltar el silenci poètic o, millor dit, la seva capacitat d’eloqüència, el seu dot de suggeriment, la seva idoneïtat per expressar l’inefable com a veu de misteri i com a codi d’enigma, i, en definitiva, el seu indiscutible paper com a transmissor de l’experiència vital i artística dels poetes.
En aquest recorregut polisèmic, hem focalitzat en els poetes catalans del segle XX l'exemplificació del significat vital i artístic que el silenci i la seva profunda i àmplia poètica representa.The approach of the work is based on two observations: the study requires an interdisciplinary silence and talking about it is a paradox in itself. The approach is made taking into account the great significance in art in general and poetry in particular, where its influence has been decisive, especially since the twentieth century. Throughout this paper, we highlight the poetic silence, or rather, their ability eloquence, her dowry suggestion, their suitability to express the ineffable mystery as voice and as a source of mystery, and, ultimately, its indisputable role as a transmitter of life experience and artistic poets. This route polysemous we focused on Catalan poets of the twentieth century exemplification of vital significance and artistic silence and deep and broad poetic accounts.
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Frighetto, Aurélie. "Penser le "mot poétique" au XIXe siècle : entre discours lexicographique et pratique littéraire." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL117.
Повний текст джерелаАнотація:
À la croisée de l’histoire de la langue, de la lexicographie, de la stylistique et de la littérature, cette thèse se propose de retracer le parcours d’une notion complexe, celle de « mot poétique », qui connaît au XIXe siècle une évolution singulière. Des débuts du Romantisme à la mort de Mallarmé, le lexique poétique est en effet soumis à des bouleversements majeurs, entre héritage postclassique et déni de cet héritage, désir de modernité, expérimentations fin-de-siècle. Afin de mieux cerner les contours de cette évolution, nous avons choisi de faire dialoguer le discours lexicographique et les textes littéraires et de confronter leur pensée du mot poétique. La première partie de ce travail propose un panorama du poétique tel qu’il se donne à lire dans les dictionnaires (du premier Dictionnaire de l’Académie de 1694 à La Grande Encyclopédie de 1885-1902) et détermine un corpus lexical, établi à partir des termes que le Grand Dictionnaire universel du dix-neuvième siècle (1863-1876) de Pierre Larousse définit comme poétiques. La deuxième partie de la thèse analyse les usages de ce lexique dans les textes littéraires et montre comment les mots poétiques traditionnels parviennent à conserver leur aura. Enfin, le troisième temps de la réflexion s’intéresse d’une part aux dérives et aux limites de ce lexique, à son devenir cliché, et d’autre part, à tous les nouveaux procédés de poétisation du mot comme au renouvellement général de la pensée du poétique qui confine, à l’aube du XXe siècle, à la rêverieAt the crossroads of the history of language, lexicography, stylistics and literature, this doctoral dissertation aims to recount the path taken by the complex notion of the "poetic word" which is transfigured like no other in the 19th century. From the beginnings of Romanticism to the death of Mallarmé, the poetic lexicon is subjected to major disruptions, as it is torn between post-classical heritage and the denial of that heritage, between an attachment to modernity and end-of-the-century experimentations. To get a better grasp of the features of this evolution, we decided to put lexicographical discourse and literary texts in conversation with each other and contrast their conception of the poetic word. The first part offers an overview of the poetic as revealed by dictionaries (from the first Dictionnaire de l’Académie of 1694 to La Grande Encyclopédie of 1885-1902) and identifies a lexical corpus based on the terms defined as poetic by Pierre Larousse in his Grand Dictionnaire universel du dix-neuvième siècle (1863-1876). The second part analyses the uses of this lexicon in literary texts, showing how traditional poetic words manage to retain their aura. The third part focuses, on the one hand, on the misuses and limits of this lexicon that trivializes it and makes it cliché. On the other hand, it tackles all the new ways of poetizing the word as well as the renewal of thoughts on the poetic which, on the eve of the 20th century, borders on reverie
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Jones, Ewan James. "The philosophy of poetic form in the work of Samuel Taylor Coleridge." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609882.
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Low, Bronwen Elisabeth. "Spoken word, exploring the language and poetics of the hip hop popular." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ66356.pdf.
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Hair, Ross James. "'Congeries of word and light' : The transcendentalist college poetics of Ronald Johnson." Thesis, University of Southampton, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500805.
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Robinson, James George. "Secularism and sacralism in the poetic theory of Friedrich Schlegel." Thesis, University of Edinburgh, 1987. http://hdl.handle.net/1842/24277.
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Gaynor, Tim. "Counter-hegemonic poetics in the work of Isabel Allende." Thesis, Oxford Brookes University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363724.
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Nowell-Smith, David Simon. "Poetry and poetics in the work of Martin Heidegger." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608617.
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Bowles, Nathaniel Earl. ""My Music is Words" -- The Poetics of Sun Ra." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/32031.
Повний текст джерелаАнотація:
This thesis argues for a critical examination of the published writings of Le Sony'r Ra, also known as Sun Ra, a groundbreaking jazz musician and philosopher of the 20th century. Recent redistribution of Sun Ra's musical output, which includes hundreds of releases on many record labels from the 1950's onward, has prompted a critical renaissance towards his influence on jazz orchestration, band management, do-it-yourself ethics, and structured improvisation In spite of this resurgence of interest in his music, his written corpus has failed to produce a comparable level of criticism or discussion. It is my firm belief that it is the body of work's relative scarcity in print, not its value as literature, that has kept the material underground for such a lengthy period of time. With the recent republication of Sun Ra's daunting body of poetry and prose, the discovery of early manuscripts, and the surfacing of relevant critical essays, the time has come to analyze his poetic position within the context of African-American philosophical thought.Master of Arts
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COFFMAN, BRIAN EDWARD. "THE POWER OF RISK: POETICS OF STANDARDIZED WOOD CONSTRUCTION." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1083186226.
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Coffman, Brian. "The power of risk poetics of standardized wood construction /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1083186226.
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Hutchison, Stephanie. "Work: A poetics of endurance within the viscous solo." Thesis, Deakin University, 2012. https://eprints.qut.edu.au/95371/7/95371.pdf.
Повний текст джерелаАнотація:
This project developed a new approach to movement practice and performance through a solo performance that used physical paradigms of endurance and work to integrate the normally divergent movement practices of contemporary dance, circus and improvisation. This work contributes to developing dance and movement curricula relevant to contemporary hybrid aesthetics.
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Armstrong, John Patrick. "Lyric realism to Epic consciousness : poetic subjectivity in the work of Edward Dorn." Thesis, University of Glasgow, 2008. http://theses.gla.ac.uk/502/.
Повний текст джерелаАнотація:
This thesis looks at Edward Dorn s work from his early poems in the late 1950 s to Gunslinger, his mock epic of the American West written between 1968 and 1974. The overall background premise to the present study is that, in this period, Dorn s work develops from a form of lyric, in his early work, to the construction of a multiple and epic consciousness within the four books of Gunslinger. Some critics of Dorn see quite radical shifts within this development, which often leads to a periodizing of Dorn s work. But this thesis argues for a strong continuity that runs alongside these shifts, driven by a consistent anti-capitalism that informs Dorn s writing. Chapter 1 assesses several of Dorn s early poems and finds within the construction of his poetic subject, a tendency to undo and undermine the traditional lyric voice of interiority. Comparisons are made with Frost and Thoreau, and Olson is introduced as Dorn s first and foremost major influence. The poet s dealing with otherness is considered, as are the influence of Whitman and Blake among others, with the aim of placing Dorn in a literary sense, and showing how his poetry continues and subverts various traditions and conventions of poetry, In Chapter 2, examples of Dorn s prose works - short stories, sketches and his autobiographical novel By the Sound (1971) - are explored both in their own terms and as experiential backdrop to the poetry. This section is particularly concerned with Dorn s configuration of poverty in his work and how it is consstructed as a form of American otherness. Chapter 3 s primary concern is with Dorn s treatment of the American West in his 1964 volume Hands Up! Particularly important here is Dorn s undemining of myth, its process of privileging certain stories to the detriment of history, and the West s reliance on capitalism. The second half of this chapter continues these ideas through an assessment of 'The Land Below'. Chapter 4 critiquse Geography (1965) through the influence of Charles Olson and the cultural geographer Carl Otwin Sauer. The first half is concerned with Dorn s push for expansiveness in his poetry and his attempts to achieve, what he calls, a 'condition of the simultaneous.' The second half of the chapter however, locates in this collection, a poetics of melancholy and isolation that is more in keeping with his early work and in tension with his development toward epic. Chapter 5 assesses The North Atlantic Turbine (1967), focusing primarily on the two long poems of the volume, 'The North Atlantic Turbine' and 'Oxford.' This section looks at the further expansion in Dorn s poetics with the collection s global reach, and also considers the introduction of the experimentation with made-up voices. The final chapter on Gunslinger looks first at Dorn s treatment of the first-person pronoun as a continuation of his consistent testing of poetic subjectivity. Also explored, are 'The Cycle' and Dorn s creation of Robart as a monstrous manifestation of capiralism and finally, how the poem utilises the genre of eopc. The goal of the thesis is to explore beneath the presumptions about Dorn s development as a poet and understand how the complexities of such a development are played out within the texts themselves. Also, the aim here is to show how the movement from lyric to epic takes place in Dorn s work by very gentle degrees and is inextricably connected to his anti-capitalist politics.
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Passannanti, Erminia. "Essay writing, lyric diction and poetic translation in the work of Franco Fortini." Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406749.
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Armstrong, John Patrick. "'Lyric realism' to 'Epic consciousness' poetic subjectivity in the work of Eward Dorn /." Connect to e-thesis, 2008. http://theses.gla.ac.uk/502/.
Повний текст джерелаАнотація:
Thesis (Ph.D.) - University of Glasgow, 2008.Ph.D. thesis submitted to the Department of English Literature, Faculty of Arts, University of Glasgow, 2008. Includes bibliographical references. Print version also available.
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Adlard, Anthony. "'Words of the world' : the testimony of the hero in the poems of Wallace Stevens." Thesis, Lancaster University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.330001.
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Kim, John Hyong. "The Poetics of Diagram." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11590.
Повний текст джерелаАнотація:
This dissertation treats the diagram as a literary object. It explains how the diagram structured the conditions of possibility of a world-literary modernity as it emerged in the late nineteenth- and early twentieth-century. Caught between the competing epistemic regimes of scientific and humanistic knowledge, as well as between the clash of cultures, East and West, the diagram's potential as a scientifically neutral, and thus, "universal" language was deployed and redeployed in complex ways: just as the diagram was used to reveal the fundamental conditions of literary possibility, it was also made into a literary object itself. Thus, as both a hermeneutic tool and an aesthetic object itself, the diagram's place in literature is shown to hinge upon the necessary but ambivalent relationship between the gravitas of literary criticism and the spirit of play in literary art. Beginning with a philosophical and genealogical archaeology of the diagram, the dissertation unfolds by situating various theoretical issues elicited by the placement of the diagram in literature, such as problems of interpretation, cognition, translation, adaptation, and materiality, within an intricate matrix of historical and cultural contexts. Readings likewise draw from a wide range of disciplines, such as continental philosophy, history of science and mathematics, visual studies, as well as from a wide range of languages and literatures, from English, French, and German, to Chinese, Japanese, and Korean.
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Flores, Guilherme Gontijo. "Uma poesia de mosaicos nas Odes de Horácio: comentário e tradução poética." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-18032015-111739/.
Повний текст джерелаАнотація:
Este trabalho propõe uma leitura em mosaico das Odes, em três níveis: (a) a ordem das palavras, (b) organização do poema e (c) disposição do(s) livro(s). Em seguida, diante dos efeitos produzidos por esses níveis, a tese pretende justifica e apresentar uma tradução poética que tenha a função crítica que elucidar pela prática poética os problemas críticos apontados na parte teóricaThis work proposes a reading in mosaics of the Odes, in three levels: (a) word-order, (b) organization of the poem and (c) disposition of the book(s). After that, in face of the effects produced by those levels, this thesis aims at justifying and presenting a poetic translation that also bears a critical function through clarifying by the poetical praxis the critical problems pointed in the theoretical section
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Fiorentino, Pavel. "With everyone’s imagination atrophied, no one will ever be a threat to the world : Work in progress. An essay by Pavel Fiorentino." Thesis, Konstfack, Institutionen för Konst (K), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3604.
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Bird, Kimberly E. "Revolutionary ambience and historical memory : popular front poetic radicalism at the California-world border /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2005. http://uclibs.org/PID/11984.
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Bollig, Benjamin Alexander Francis. "The poetic search for an Argentine marginal voice in the work of Nestor Perlongher." Thesis, King's College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407890.
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Keim, Robert. "Words That Weave a Reality Reborn: Performative Language and the Theory of Poetic Translation." Youngstown State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1607547589681778.
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Webster, Mags (Margaret). "“Words fail but meanings still exist”: Exploring the relationship of apophasis to poetic practice." Thesis, Webster, Mags (Margaret) (2020) “Words fail but meanings still exist”: Exploring the relationship of apophasis to poetic practice. PhD thesis, Murdoch University, 2020. https://researchrepository.murdoch.edu.au/id/eprint/58175/.
Повний текст джерелаАнотація:
Since classical times, apophasis, the rhetoric of negation, has been harnessed as a means of writing about and addressing the ineffable in philosophy, literature and theology. This thesis is concerned with the dynamic relationship between poetry and ineffability, and specifically with how apophasis may inform a contemporary poetics that seeks to grapple with the unsayable. Arguing that language becomes more potent as poetic material when pushed towards engagement with the ineffable, the thesis thus investigates how poets might use the principles and techniques of apophasis to push at aesthetic and expressive boundaries. In order to trace the historical development, changing meanings, and interpretative possibilities of apophasis as concept and as practice, this thesis considers the writings, from ancient times to the present day, of key philosophers (such as Jacques Derrida); theologians (such as Dionysius the Areopagite); and poets (such as Rumi and Charles Wright), with a particular focus on apophasis in the work of poets Emily Dickinson and Paul Celan.
The thesis takes a braided form: toggling between critical and creative writing to reflect a mode of research whose creative component—a selection of original poems, lyric prose passages, and poetic asides—is deeply interwoven with the critical enquiry. The enfolding of different modes of writing has temporal, spatial, rhythmical, kinetic, visual, material and musical significance, which can animate language as a practice harbouring the known and unknown, said and unsaid, presence through absence, and perceptibility through imperceptibility. Moreover, by using critical and creative writing to demonstrate how poetry is the ideal medium in which to push at these boundaries, the thesis also identifies poetry as a way of knowing that is emotionally, intellectually, and aesthetically valuable.
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Bolleana-Clark, James. "Stubborn Work: Poems." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5813.
Повний текст джерелаАнотація:
Stubborn Work is a collection of poems about definition and uncertainty. The poems herein probe the concept of a continuous self in the face of an ever-shifting landscape. In this work foundations of self-identity, family identity, gender, home, place, and (at the hands of a psychological disorder) even reality itself are shaken and called into question. Over and over, in lieu of every new shift, the poet attempts to re-write themselves—to ask, continually, what it means to move forward after each new shift, and remark on how the past always follows closely behind, directing the course. Investigating the relationships between self and space, self and personal history, self and desire, Stubborn Work illuminates the ways in which a “sense of self” is always changing, moment by precarious moment, and that it is harrowing, actualizing, and inevitable that we are to be forever in search of it.
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Ribeiro, Célio Diniz. "Poesia e vida diplomática em Francisco Alvim: Célio Diniz Ribeiro." Niterói, 2017. https://app.uff.br/riuff/handle/1/3224.
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A obra poética de Francisco Alvim explicita, repetidas vezes, questões que englobam o trabalho em geral e a vida diplomática especificamente. Tal fato não apenas o singulariza no cenário da poesia contemporânea, mas promove também uma problematização em torno das contradições existentes entre a prática intelectual no Brasil e o exercício de uma função pública. Neste panorama, percebe-se o quanto o signo trabalho, é uma questão importante em seus textos, tanto pela multiplicidade de sentidos que assume, quanto pelos questionamentos que levanta acerca dos limites do fazer poético na contemporaneidade. Apresentando, por isso mesmo, uma subjetividade cindida, instável e fragmentada numa pluralidade de vozes, sua obra deixa transparecer, desde o primeiro livro, Sol dos Cegos (1968), a consciência da perda de uma aura profética da poesia, como se verifica no próprio oxímoro presente no título. Com uma estética cheia de ironia e de ceticismo, mais do que se contrapor ao estilo retórico, característico do discurso diplomático, sua escrita literária mostra interrelações interessantes com esta práxis. Considerando o fato, o presente estudo tem por objetivo analisar como esses temas são tratados pelo autor e de que maneira o diálogo entre a poesia e a diplomacia apresenta uma convergência de procedimentos tais como a escuta, a assunção de outras vozes e a negociação.
Francisco Alvim’s poetical work often shows issues concerning the work in a general sense and the diplomatic life specifically. This fact not only distinguishes the contemporary poetry scene but also promotes a questioning around the contradictions between intellectual practice in Brazil and the exercise of a public function. Then, we can see how the sign work is an important issue in his texts, both the multiplicity of meanings that it assumes, as we can see in the questions about making poetry limits nowadays. Presenting a split subjectivity, unstable, fragmented in a plurality of voices, his work reveals, from the first book, O Sol dos Cegos (1968), awareness of the loss of the poetry’s prophetic aura, as in the oxymoron shown in the title. With an aesthetic full of irony and skepticism, rather than oppose the rhetorical characteristic style of diplomatic discourse, his literary writing presents some interesting interrelationships in this context. Considering this, the purpose of this investigation is to analyse how those themas have been treated by the author and how the dialogue between those activities, poetry and diplomacy, signs a convergence of procedures as listening, taking on different voices and negotiation.
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Oliveira, Daniele Gomes de. "Dissertação readymadenemtanto da aluna de poesia Rrosé Selavy Duchampignon (work in progress) - ideograma mental /." São Paulo : [s.n.], 2007. http://hdl.handle.net/11449/86988.
Повний текст джерелаАнотація:
Orientador: Omar KhouriResumo: Trabalho crítico-criativo sobre poesia visual. O elástico conceito de ideograma norteou este trabalho. Estrutura. Movimento. Seleção e crítica. Ordenação. Justaposição. de fragmentos. Redes de associações. Conexões. Processos e não produtos acabados. Crescimento sígnico. Universo diagramático. Método heurístico. Poesia e linguagem. O texto é um diagrama, icônico. Aprofundamento. Poesia Concreta. Criou-se a personagem Rrosé Selavy Duchampignon, que relaciona poesia e Duchamp. Síntese criativa. Recorte. Colagem. Montagem. Trabalho com apropriações. Nesta dissertação-livro-de-artista também são apresentados alguns trabalhos de poesia visual. E um termo de compromisso com a arte. Registrado em cartório.
Abstract: Critic-creative work about visual poetry. The elastic ideogram concept guided this work. Structure. Movement. Selection and criticism. O verplapping of fragments. Associantion networks. Connections. Processes and not finished products. Signic growth. Diagrammatic universe. Heuristic method. Poetry and language. The text is an iconic diagram. Deepening. Concrete poetry. The character Rrosé Selavy Duchampignon, relating poetry and Duchamp, was created. Creative synthesis. Cutting. Pasting. Assemblage. Work with appropriations. In this artist-book-dissertation some works of visual poetry are also presented. And an instrument of commitment whit the art. Notarized.
Mestre
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Oliveira, Daniele Gomes de [UNESP]. "Dissertação readymadenemtanto da aluna de poesia Rrosé Selavy Duchampignon (work in progress) -: ideograma mental." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/86988.
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Trabalho crítico-criativo sobre poesia visual. O elástico conceito de ideograma norteou este trabalho. Estrutura. Movimento. Seleção e crítica. Ordenação. Justaposição. de fragmentos. Redes de associações. Conexões. Processos e não produtos acabados. Crescimento sígnico. Universo diagramático. Método heurístico. Poesia e linguagem. O texto é um diagrama, icônico. Aprofundamento. Poesia Concreta. Criou-se a personagem Rrosé Selavy Duchampignon, que relaciona poesia e Duchamp. Síntese criativa. Recorte. Colagem. Montagem. Trabalho com apropriações. Nesta dissertação-livro-de-artista também são apresentados alguns trabalhos de poesia visual. E um termo de compromisso com a arte. Registrado em cartório.
Critic-creative work about visual poetry. The elastic ideogram concept guided this work. Structure. Movement. Selection and criticism. O verplapping of fragments. Associantion networks. Connections. Processes and not finished products. Signic growth. Diagrammatic universe. Heuristic method. Poetry and language. The text is an iconic diagram. Deepening. Concrete poetry. The character Rrosé Selavy Duchampignon, relating poetry and Duchamp, was created. Creative synthesis. Cutting. Pasting. Assemblage. Work with appropriations. In this artist-book-dissertation some works of visual poetry are also presented. And an instrument of commitment whit the art. Notarized.
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Matthews, Kirsten Alexandra. "'Lucky Poet' and the bounds of possibility : autobiography and referentiality in Hugh MacDiarmid's 'Poetic World'." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/859/.
Повний текст джерелаАнотація:
This thesis examines the use of collage as a form of autobiography in Hugh MacDiarmid’s Lucky Poet (1943). It traces the development of the use of autobiographical detail and the use of collage in MacDiarmid’s work from To Circumjack Cencrastus (1930) to Lucky Poet. It aims to show that though there is a clear precedent for both these elements in the earliest of MacDiarmid’s work, To Circumjack Cencrastus represented a turning point in MacDiarmid’s progression towards the use of collage as an autobiographical form, and the subsequent development of his interest in autobiography can be traced through the Clann Albann project (1931-1933) and Stony Limits and Other Poems (1934) to Lucky Poet. It examines the difference between autobiographical memory, as developed in the Clann Albann poems, and the representation of immediate experience in poems written while MacDiarmid was on Whalsay, particularly those included in Stony Limits and Other Poems (1934). Its analysis of Lucky Poet, and of the earlier works, focuses on the ideological and artistic use to which MacDiarmid puts autobiography. It includes a brief account of the place of Lucky Poet within recent critical debate regarding the autobiographical genre, but centres on a detailed analysis of MacDiarmid’s reference to Søren Kierkegaard and Lev Shestov. It shows how he developed, through reference to Shestov’s In Job’s Balances and Walter Lowrie’s biography of Kierkegaard, a concept of the suffering and self-sacrifice of the artist, and a related belief in the need to embrace – as an artist – both the danger and the freedom of Shestov’s abyss. It demonstrates how this freedom is realized in the rejection of social conventions and in the publication of unpalatable or provocative material. The thesis concludes by comparing MacDiarmid’s autobiographical writing to that of Edwin Muir and Sir Thomas Urquhart, arguing that Muir rejects the notions of self-sacrifice and rebellion developed by MacDiarmid while Urquhart, despite his distance from MacDiarmid in historical period and social class, ultimately stood for the same principles.
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Kelly, Michael Gerard. "Speech and utopia : spaces of poetic work in the writings of Segalen, Daumal and Bonnefoy." Thesis, University of Oxford, 2002. http://ora.ox.ac.uk/objects/uuid:ecd46701-c98b-4887-8cce-74613757b5f9.
Повний текст джерелаАнотація:
The thesis argues that a certain 'locus' of poetry is perceptible diachronically in the French literary field of the 20th Century and that this locus (elusive, fragmented, multilayered) may be meaningfully focused upon via the interaction of the questionings centered around the terms 'speech' and 'utopia'. In the introduction an argument is made for the conceptual validity of the term 'utopia' in relation to the diverse literary practices accruing around the pole of the 'poetic', which results in the derivation of the idea of a Utopian dynamic - a vectoral addition to the conventionally static, figure-bound 'utopia'. Concentrating on three poets (Victor Segalen, René Daumal and Yves Bonnefoy) from three distinct generations and periods (pre-WWI, inter-War and post-WWII) which are standardly represented as discontinuous, the thesis proposes an analysis, ordered along three canonical sub-divisions of the Utopian preoccupation (which are three distinct modalities of Utopian space), of the Utopian dynamic argued to be characteristic of the work of poetic writing. The three parts of the thesis thus examine the 'poetic' as occurring within social space (lieu commun), physical space (haut lieu) and textual space (non lieu) over the combined duration of the corpus. Arguing for an intelligible continuity of preoccupation among the three poetic oeuvres discussed, the thesis concludes that that continuity enables, in return, a modification of our understanding of the Utopian, of which a lucid practice of poetic writing can thus become the embodiment. Utopia, from being a synonym for illusionment in a century at all times supremely alive to the need for irony, becomes a creative embrace of disenchantment. The point of resolution (poetic foundation) at each stage in the individual oeuvres analysed being the ongoing representation of the 'human' as inner and outer limit to the poetic subject's practice and to the aspiration from which it moves.