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1
Evans, Meagan. "Sounding Silence: American Women's Experimental Poetics." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12946.
Повний текст джерелаАнотація:
Traditional feminist readings have valued women's writing that voices silenced experiences. In contrast, other twentieth-century theoretical formulations regard absences, refusals, and silences as constitutive of aesthetic practice rather than as imposed upon it. This dissertation attends carefully to how U.S. women writers approach the nonlinguistic, accounting for how they have been silenced as well as for the kinds of silencing that women poets themselves perform. It argues that U.S. women's experimental poetry is driven by contradictory relationships to language and silence: in one strain, gendered cultural repression spurs American women poets to push language into new territory, often figured as speaking out. But in another mode, female identification with the nonrational or nonlinguistic, whether externally enforced or strategically inhabited, impels women to develop poetic silences in order to resist the impositions of language on a feminized other. Meeting these simultaneous and opposed goals--creating poetic forms capable of greater expressive range while signaling the inadequacy of linguistic expression--necessitates formal experimentation. My primary claim that an unresolved ambivalence toward the nonlinguistic drives innovation dictates an emphasis on formal technique, including syntax, rhyme and meter, sentence and stanza structure, and figuration. This attention to poetic particulars grounds my contextualization of the work of each poet I consider--Emily Dickinson, Lorine Niedecker, and Gwendolyn Brooks--in relation to her own life, to broader literary and cultural histories, and to poststructuralist theories of language.
The first chapter of my dissertation explores the role that early American, particularly Puritan and Transcendental, attitudes toward wilderness shape poetic motivations both to extend and limit the reach of language throughout the nineteenth and twentieth centuries. In subsequent chapters, I evaluate how those motivations change in the context of Dickinson's nineteenth-century spirituality, Niedecker's modernist and postmodernist anxieties about the role of the poet, and Brooks's engagement with the politics and aesthetics of black nationalism. Reading U.S. women's poetic innovation as simultaneously breaking and cultivating silences opens a dialogue among historically feminist understandings of silence as oppressive, theories that put silence at the heart of poetic impulse, and avant-garde theoretical conceptions of linguistic experimentation as a feminist project.
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Pick, Peter Richard. "Interjections of silence : the poetics and politics of radical protestant writing 1642-1660." Thesis, University of Birmingham, 2000. http://etheses.bham.ac.uk//id/eprint/244/.
Повний текст джерелаАнотація:
In this thesis I have undertaken a close reading of texts by William Walwyn, Abiezer Coppe and James Nayler. In reading Nayler, I have also engaged with texts by Richard Farnsworth and Richard Baxter. My approach has been to consider these writings in their own terms and right, rather than merely as contextual sidelights on literary or social matters. I believe that all writing expresses aesthetic concerns and social attitudes. I hope my study will contribute to a necessary and continuing project of recovering such voices, so often marginalised and considered either as symptoms of mental disorder, or simply of no literary value. I have applied Bakhtinian perspectives and Discourse Analysis in my readings, although I hope not to the detriment of the writers' own understanding of their work, as I am reluctant to impose ahistorical interpretations on the writings of a previous era. I believe many misunderstandings arise from such procedures. I have not wished to apply a strategic reading to these texts, but rather to recover what they meant for their writers and readers at the extraordinary moment which produced them. I have attempted to integrate them in their own historical context, to explain difficulties arising in their interpretation, to explore their theology and social message, and as far as possible to relate them to the literary history from which they have been largely divorced. The thesis is not intended as a general review of pamphlet literature, of which there are several valuable examples, but as exploration and explanation of specific writings by representatives of the 'Radical Protestant' movements known as Levellers, Ranters and Quakers.
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Dickson, Lesley. ""A silence that had to be overcome" : 50 poems and a personal statement on poetics." Thesis, University of Aberdeen, 2012. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=192181.
Повний текст джерелаАнотація:
‘Scottish’, ‘woman’, ‘lesbian’; these words are markers of identity and a starting point in my attempt to place myself within a poetic tradition. This study towards a statement of poetics considers ideas of identity and tradition as they relate to the public and private spheres. The first chapter considers how traditions are built and the external factors which impact upon them by looking at both physical and more ideological notions of place and space as they relate to nationhood and a sense of belonging. The focus then narrows to consider the situation of female poets as marginal. There is an interrogation of whether female poets are marginalised by the predominantly patriarchal literary canon or if they seek out these liminal borders and hinterlands. This is considered in the context of Elizabeth Bishop’s ‘forced exile’ and the more voluntary travels of Kathleen Jamie. The study then turns to consider the theoretical history behind women’s writing and how this impacts upon their varied ways of ‘reading the map of tradition’. In considering the private, or personal, sphere there is a discussion of the internal impulses which the poet acts upon in order to look at the nature of poetic imperative. This section begins with the statement that ‘every poem breaks a silence which had to be overcome’, and this in turn opens up questions of how external silencing might affect the internal impulse to assert and/or disclose. With specific focus on mid-twentieth century American Confessional poetry, further questions are asked regarding the ‘worth of art’ and the poet’s decoding and self-censorship of their own work in order to both hide and break taboos surrounding sexuality and privacy. The study then becomes more specifically personal in the reflective chapter which deals thematically with a selection of my own poems from the folio. This is in order to chart not only the evolution of my work but also the evolution of my own poetic imperatives. The final chapter reflects upon my use of free verse, looking briefly at the history of the form from the early twentieth-century onwards before going on to consider how the various theories and poetics which have grown out of the broadly vernacular, ‘free verse revolution’ have impacted formally upon my own work.
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Cain, Christina. "Between the Waves: Truth-Telling, Feminism, and Silence in the Modernist Era Poetics of Laura Riding Jackson and Muriel Rukeyser." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5419/.
Повний текст джерелаАнотація:
This paper presents the lives and early feminist works of two modernist era poets, Laura Riding Jackson and Muriel Rukeyser. Despite differences of style, the two poets shared a common theme of essentialist feminism before its popularization by 1950s and 60s second wave feminists. The two poets also endured periods of poetic silence or self censorship which can be attributed to modernism, McCarthyism, and rising conservatism. Analysis of their poems helps to remedy their exclusion from the common canon.
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Khakshour, Faroudji Morteza. "Poétique du silence dans l’œuvre de Maurice Blanchot." Thesis, Sorbonne université, 2022. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2022SORUL016.pdf.
Повний текст джерелаАнотація:
L’œuvre de Maurice Blanchot est mystérieuse et inquiétante. Son lecteur devrait être d’ores et déjà prêt à se perdre dans un labyrinthe et à accepter le risque d’être à jamais enfermé dans cet espace où chercher à trouver la sortie est comme une faute grave. L’essentiel de la critique blanchotienne s’attache à la quête désespérée de l’infini et de l’impossible dans la littérature ; dans ses récits, Maurice Blanchot tente de pratiquer les principes et les éléments de cette conception spécifique de la littérature à travers une poétique du silence. Cette thèse porte, dans un premier temps, sur la pensée littéraire de Blanchot qui, selon nous, s’intéresse avant tout à indiquer les failles et l’échec de l’écriture pour tracer l’indicible ; nous tentons ensuite de mesurer les conséquences d’une telle approche dans l’œuvre narrative de BlanchotMaurice Blanchot's work is mysterious and disturbing. Its reader should already be prepared to get lost in a labyrinth and accept the risk of being locked in this space. Much of the Blanchot criticism is concerned with the desperate quest for the infinite and the impossible in literature; in his stories, Maurice Blanchot tries to practice the principles and elements of this specific conception of literature through a poetics of silence. This thesis focuses, first, on the literary thought of Blanchot who, in our opinion, is primarily interested in indicating the flaws and failure of writing to trace the unspeakable; we then attempt to measure the consequences of such an approach in Blanchot's narrative work
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Miksic, Vanda. "Des silences linguistiques à la poétique des silences: l'oeuvre de Stéphane Mallarmé." Doctoral thesis, Universite Libre de Bruxelles, 2005. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210994.
Повний текст джерелаАнотація:
Le silence — ou plutôt la grande variété de ce que l’on appelle “silences” — est un phénomène complexe qui prend une part directe dans la dynamique du langage et la création du sens linguistique, mais aussi dans la production du sens symbolique et des effets poétiques. Le travail est organisé en deux parties: la première traite la question de l'acte de silence dans l'expérience linguistique du monde, tandis que la deuxième analyse l'expérience poétique des silences en appliquant les résultats précédemment obtenus au Coup de dés de Stéphane Mallarmé. Plus précisément, dans la partie linguistique, on passe en revue différentes théories pour dégager la place que le silence s’y voit reconnaître. On l’étudie successivement en tant que signe linguistique, en tant qu’acte linguistique, comme élément pertinent, comme procédé rhétorique, comme phénomène symbolique. La partie poétique se fonde sur la théorie de l'évocation pour aboutir, en passant par un chapitre consacré à la poésie moderne dans son ensemble, à l'œuvre de Stéphane Mallarmé, le premier poète qui ait créé une véritable poétique des silences, tant dans ses ouvrages poétiques (dont le Coup de dés est l'exemple le plus radical) que dans ses écrits théoriques.Doctorat en philosophie et lettres, Orientation linguistique
info:eu-repo/semantics/nonPublished
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Lessinger, Enora. "The Translation of Silence in K. Ishiguro’s Novels ˸ testing the Explicitation Hypothesis on Unreliable Narratives." Thesis, Paris 3, 2019. http://bibnum.univ-paris3.fr/webclient/DeliveryManager?pid=323335.
Повний текст джерелаАнотація:
Cette thèse explore la traduction de quatre romans de Kazuo Ishiguro en cinq langues : le français, l'espagnol, l'hébreu, le portugais et le turc. La centralité de l'implicite et du non-dit dans le pacte narratif appelle à une participation active du lecteur implicite, ce qui a naturellement des conséquences sur le procédé de traduction : d'une part, le traducteur est en premier lieu un lecteur, et de l'autre la traduction comporte un risque communicationnel accru (Becher 2010a). Afin d'explorer le défi lié à la recréation de la poétique du silence à l’œuvre dans la stratégie narrative de ces romans, le présent travail croise l'étude des universaux de traduction à celle de la poétique narrative, testant au niveau narratif l'hypothèse de l'explicitation proposée par Blum-Kulka en 1986. Cet universel de traduction potentiel postule l'existence d'une tendance à l'explicitation dans le passage du texte source au texte cible. L'approche narratologique adoptée ici constitue une nouvelle perspective dans l'étude de l'explicitation en traduction. Les approches linguistique et cognitive sont présentes avant tout pour permettre de situer l'approche narratologique dans le champ de l'étude de l'explicitation. Les résultats obtenus montrent une tendance globale à l'implicitation de la stratégie narrative dans les récits caractérisés par un pacte narratif collaboratif. Cette implicitation peut prendre la forme d'un remplissage des blancs narratifs et d'une résolution de l'ambiguïté du texte, ou passer par la disparition d'indices textuels permettant au lecteur implicite d'accéder au sous-texte. Ces résultats suggèrent que l'universel de traduction en jeu n'est pas l'explicitation, mais plutôt la réduction de voix narratives complexes (Chesterman 2010)This thesis explores the translations of four of Kazuo Ishiguro’s novels into five target languages – French, Hebrew, Portuguese, Spanish and Turkish. The centrality of the implicit and the unsaid in the narrative pact entails the implied reader’s active participation and naturally has consequences on the translation process, both because the translator is initially a reader and due to the increased communicative risk involved in translation (Becher 2010a). In order to explore the challenge of recreating the verbal restraint and poetics of silence at work in these novels’ respective narrative strategies, this investigation crosses the study of translation universals with that of narrative poetics, testing at the narratological level the explicitation hypothesis put forward by Blum-Kulka in 1986. This potential universal of translation posits the existence of a tendency towards greater explicitness in target texts than in corresponding source texts. The focus on narrative poetics adopted here constitutes a new approach to the study of explicitation in translation; linguistic and cognitive explicitness are considered chiefly in order to situate narratological explicitness in relation to them. The results obtained show a generalised tendency towards implicitation of the narrative strategy in unreliable narratives, i.e. in narratives where indirectness is a central narrative device. This implicitation can correspond to blank-filling and resolution of ambiguity, or to the disappearance of the textual clues pointing the implied reader to the subtext below the surface narrative. This in turn suggests that the translation universal at play here is not explicitation but reduction of complex narrative voices (Chesterman 2010)
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Smuts, Lyn. "The visualization of sound : an investigation into the interplay of the senses in artmaking." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/905.
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Svensson, Kristofer. "Beyond Ecophony." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1351.
Повний текст джерела
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Heller, Alberto Andrés. "John Cage e a poética do silêncio." Florianópolis, SC, 2008. http://repositorio.ufsc.br/xmlui/handle/123456789/91918.
Повний текст джерелаАнотація:
Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em LiteraturaMade available in DSpace on 2012-10-24T03:53:02Z (GMT). No. of bitstreams: 1 257998.pdf: 6692523 bytes, checksum: a10ab55284a867b4c5b89753d7b78170 (MD5)
Esta tese se propõe a analisar o silêncio a partir da obra de John Cage (especialmente a literária e a musical). Esse silêncio, inicialmente compreendido por Cage como um empírico (a pausa em música), revela-se gradualmente um transcendente: não mais uma substância nem a simples ausência de som, mas um modo da ação (modo de silêncio), aparecendo como estilo, profundidade, aura, dimensão, verticalidade, densidade. Esse silêncio implica modos de percepção e temporalidade próprios, descritos aqui a partir das noções de Gelassenheit (Heidegger) e Awareness (Gestalt) e estabelecendo conexões com as noções de Invisível em Merleau-Ponty e de Nada no Zen-budismo.
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Arsova, Jasmina. "Writing herself out of silence and solitude the poetic self-portraits of Gloria Fuertes /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1666368691&sid=4&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Obone, Ondo Pauline. "La poétique du silence dans "Syngué sabour Pierre de patience" (Atiq Rahimi), "La Femme aux pieds nus " et "Inyenzi ou les cafards" (Scholastique Mukasonga)." Thesis, Limoges, 2019. http://www.theses.fr/2019LIMO0068.
Повний текст джерелаАнотація:
Cette thèse porte sur l’écriture de Scholastique Mukasonga et Atiq Rahimi. Elle interroge principalement leurs écritures respectives à travers Notre-Dame du Nil, Inyenzi ou les cafards et Syngué sabour. Pierre de patience. Bien qu’amas de mots, ces trois œuvres participent d’une écriture du silence du point de vue esthétique et historique. Elle veut démontrer que face à l’horreur et au trauma, l’écriture du silence devient à la fois nécessaire et inévitable car le langage peine désormais à traduire la douleur d’un passé qui ne passe pas. Compte tenu de la difficulté du langage à traduire la souffrance et le trauma de la victime, le silence intervient comme une stratégie langagière qui permet de dépasser le dicible. Aussi, face à Adorno qui estimait que toute poésie après Auschwitz est barbare, la présente analyse démontre que l’écriture subsiste à l’horreur dans la mesure où elle tend, elle-même, vers l’absence et le silence comme le déclarait Blanchot. Pour cela, elle recourt à une esthétique qui allie silence et parole dans une expression qui permet d’atteindre l’indicibleThis thesis deals with the writing of Scholastique Mukasonga and Atiq Rahimi. She mainly questions their respective writings through Our Lady of the Nile, Inyenzi or Cockroaches and Syngué Sabour. Stone of patience. Although full of words, these three worksare part of a writing of silence from an aesthetic and historical point of view. She wants to demonstrate that in the face of horror and trauma, the writing of silence becomes both necessary and inevitable because language is now struggling to translate the pain of a past that does not pass. Given the difficulty of language in translating the suffering and trauma of the victim, silence intervenes as a language strategy that makes it possible to go beyond the sentence. Also,in the face of Adorno, who felt that all poetry after Auschwitz is barbaric, the present analysis demonstrates that writing remains horrifying to the extent that it tends, itself, to absence and silence as declared by Blanchot. . For this, she uses an aesthetic that combines silence and speech in an expression that achieves the unspeakable
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Cho, Soon Y. "The Interaction Between Poetic and Musical Caesurae in Six Settings of Elizabeth Barrett Browning's Sonnet XLIII." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1299168299.
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Leypoldt, Günter. "Casual silences : the poetics of minimal realism from Raymond Carver and the New Yorker School to Bret Easton Ellis /." Trier : Wissenschaftlicher Verlag Trier, 2001. http://catalogue.bnf.fr/ark:/12148/cb388753788.
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Whiting, George H. ""Je ne m'occupe plus de ça" [I am not concerned with that anymore] : the poetic silence of Arthur Rimbaud /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1177308010.
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Whiting, George H. Jr. "“JE NE M’OCCUPE PLUS DE ÇA” [I AM NOT CONCERNED WITH THAT ANYMORE]: THE POETIC SILENCE OF ARTHUR RIMBAUD." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1177308010.
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Кобякова, Ірина Карпівна, Ирина Карповна Кобякова, Iryna Karpivna Kobiakova, Владислава Сергіївна Куліш, Владислава Сергеевна Кулиш та Vladyslava Serhiivna Kulish. "Модус поэтического молчания". Thesis, London: IASHE, 2016. http://essuir.sumdu.edu.ua/handle/123456789/45774.
Повний текст джерелаАнотація:
http://files.gisap.eu/sites/files/digest/125-126.indd_site.pdfУ статті розглядається мовчання як силенціальний компонент комунікації, який позначається в художньому дискурсі вербальними та невербальними маркерами. Персонажі у своїй мовленнєвій поведінці використовують силенціальні компоненти у першофункціїї. Мовчання позначається як homo silence. Мовчання природи моє персоніфікований та метафоричний характер, образне уподібнення. Мовчання називається nature silence. Комунікативне мовчання (homo silence) є первинним по відношенню до nature silence, яке позначено в англомовному художньому дискурсі нараторською лінгвокреативністю та персоніфікацією.
Статья посвящена исследованию основных модусов невербального общения природы и ее символов бытия. Поэтическое молчание, как невербальный способ коммуникации между природными символами, характеризуется антропоцентризмом в персонифицированном и коммуникативном представлении. Дискурсивный аспект исследования этого феномена состоит в понимании режима функционирования исследуемой коммуникативной единицы. Внимание сконцентрировано на основных коммуникантах невербального акта – молчания и модусах их общения. Комплексный анализ верифицируется природой исследуемой единицы – ее полиаспектностью, полимодальностью и полифункциональностью
This article deals with the problems of modus in non-verbal communication between nature and its symbols. Poetical silence as non-verbal act of communication, characterized by anthropocentricity by means of communication and personification. Discourse approach of this research is to study the mode of operation of this unit. Complex approach is verified by the complicated nature of silence.
витрати за публікацію сплатив INTERNATIONAL SCIENTIFIC COMMUNITY GISAP
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Куліш, Владислава Сергіївна, Владислава Сергеевна Кулиш та Vladyslava Serhiivna Kulish. "Екстеорізація поетичних образів тиші в англомовній поезії: контрастивні аспекти". Thesis, Сумський державний університет, 2015. http://essuir.sumdu.edu.ua/handle/123456789/39957.
Повний текст джерелаАнотація:
Образ як форма мислення та засіб пізнання складається задовго до появи художнього образу, становлення якого пов‘язане з розвитком художньої свідомості (Г. Д. Гачев, С. Н. Бройтман, О. С. Киченко, А. А. Пелипенко, І. Г. Яковенко). Образне мислення, зумовлено здатністю людини співвідносити предмети та явища навколишньої дійсності, являти один предмет крізь призму іншого (Дж. А. Миллер, Н. Д. Арутюнова, В. Н. Вовк, М. Л. Гаспаров, Lakoff, Johnson), розвивається у тісній взаємодії з еволюцією художньої свідомості і поетичного мислення.
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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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Rossiter, Rebecca J. "The Apple Speaks: Reclaiming “Self” While Bridging Worlds in Confessional Mennonite Poetry." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1180379152.
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Fries, Katherine. "Ariadne’s Thread - memory, interconnection and the poetic in contemporary art." University of Sydney, 2008. http://hdl.handle.net/2123/5709.
Повний текст джерелаАнотація:
Master of Visual ArtsThis Dissertation explores the metaphor of Ariadne’s thread in terms of interconnection, when an element from the everyday is used as a locus linking broader concepts of time and space. Such experiences and associations are reflected in the work of Louise Bourgeois, Eva Hesse, Doris Salcedo, Lucio Fontana, Richard Tuttle, Mona Hatoum, Simone Mangos, Anya Gallaccio and Yoshihiro Suda. In relation to my own work, the metaphor of interconnecting thread allows a sense of freedom and journey of discovery. My studio and related research are closely aligned in developing my understanding of interconnection, through my studio process of making and continuing experiences of looking at and interpreting others artists’ work.
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Garnaud, Delphine. "Les mutations de la rhétorique dans l'oeuvre de Guillevic." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2013. http://tel.archives-ouvertes.fr/tel-01015622.
Повний текст джерелаАнотація:
Chez Guillevic, le statut de la rhétorique est paradoxal. Toute l'œuvre est traversée par un impératif des choses et du réel qui s'accompagne d'un vœu de simplicité. Cette poésie, qui se voit rappelée à l'ordre du concret, se méfie d'une rhétorique qui viendrait éclipser la réalité des choses, ou accroître la distance entre ces deux pôles, que sont l'expérience du monde et sa mise en mots. Les poèmes, denses et resserrés sur eux-mêmes, se présentent alors manifestement comme un défi à la rhétorique. Pourtant, nous n'assistons pas à une éviction de la notion, mais plutôt à un ensemble de mutations, qui supposent une subrogation des valeurs la définissant. En effet, si Guillevic passe pour un poète qui se serait spontanément tourné vers le monde et vers les objets, ce rapport au réel, au départ, n'a rien d'euphorique. Il reste à construire car le monde se rétracte. Il faut retrouver une force dans le langage ; une force agissante. Se méfier d'une rhétorique éloquente et ornementale revient alors à inscrire dans le poème une tension qui fait du langage un support solide auquel se raccrocher ; les figures ne sont plus de l'ordre de la figuration mais de celui de la mise en rapport. On assiste donc à des processus de relittéralisation et de défiguration du langage, ce qui fait qu'il n'est plus question d'une rhétorique de surface, mais d'une rhétorique fondamentale, qui passe par un engagement de l'être dans le langage. Et comme il s'agit toujours de chercher à faire l'expérience du monde, plutôt que de s'obstiner à lui trouver un sens, la rhétorique est alors dissociée de ces notions de conceptualité, de représentation et de signification qu'elle a tendance à véhiculer. Enfin, chez Guillevic, se méfier de la rhétorique, c'est aussi remplacer la métaphore par l'ellipse et instaurer dans le poème un creux, ou un entre-deux, qui, sans pour autant annuler ce constat d'une inadéquation fondamentale entre le langage et la réalité, ne se présente pas moins comme le lieu où peut advenir une dimension neuve et originelle du sujet, du langage et du monde.
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Capp, Laura. "Dramatic audition: listeners, readers, and women's dramatic monologues, 1844-1916." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3438.
Повний текст джерелаАнотація:
The "dramatic monologue" is curiously named, given that poems of this genre often feature characters not only listening to the speakers but responding to them. While "silent auditors," as such inscribed characters are imperfectly called, are not a universal feature of the genre, their appearance is crucial when it occurs, as it turns monologue into dialogue. The scholarly attention given to such figures has focused almost exclusively upon dramatic monologues by Robert Browning, Alfred Tennyson, and other male poets and has consequently never illustrated how gender influences the attitudes toward and outcomes of communication as they play out in dramatic monologues. My dissertation thus explores how Victorian and modernist female poets of the dramatic monologue like Elizabeth Barrett Browning, Augusta Webster, Amy Levy, and Charlotte Mew stage the relationships between the female speakers they animate and the silent auditors who listen to their desperate utterances. Given the historical tensions that surrounded any woman's speech, let alone marginalized women, the poets perform a remarkably empathetic act in embodying primarily female characters on the fringes of their social worlds--a runaway slave, a prostitute, and a modern-day Mary Magdalene, to name a few--but the dramatic monologues themselves end, overwhelmingly, in failures of communication that question the ability of dialogue to generate empathetic connections between individuals with radically different backgrounds. Silent auditors often bear the scholarly blame for such breakdowns, but I argue that the speakers reject their auditors at pivotal moments, ultimately participating in their own marginalization. The distrust these poems exhibit toward the efficacy of speaking to others, however, need not extend to the reader. Rather, the genre of the dramatic monologue offers the poets a way to sidestep dialogue altogether: by inducing the reader to inhabit the female speaker's first-person voice--the "mobile I," in Èmile Benveniste's terms--these dramatic monologues convey experience through role-play rather than speech, as speaker and reader momentarily collapse into one body and one voice. Such a move foregrounds sympathetic identification as a more powerful means of conveying experience than empathetic identification and the distance between bodies and voices it necessitates.
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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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Hiebert, Luann E. "Encountering maternal silence: writing strategies for negotiating margins of mother/ing in contemporary Canadian prairie women's poetry." 2016. http://hdl.handle.net/1993/31201.
Повний текст джерелаАнотація:
Contemporary Canadian prairie women poets write about the mother figure to counter maternal suppression and the homogenization of maternal representations in literature. Critics, like Marianne Hirsch and Andrea O’Reilly, insist that mothers tell their own stories, yet many mothers are unable to. Daughter and mother stories, Jo Malin argues, overlap. The mother “becomes a subject, or rather an ‘intersubject’” in the text (2). Literary depictions of daughter-mother or mother-child intersubjectivities, however, are not confined to auto/biographical or fictional narratives. As a genre and potential site for representing maternal subjectivities, poetry continues to reside on the margins of motherhood studies and literary criticism.
In the following chapters, I examine the writing strategies of selected poets and their representations of mothers specific to three transformative occasions: mourning mother-loss, becoming a mother, and reclaiming a maternal lineage. Several daughter-poets adapt the elegy to remember their deceased mothers and to maintain a connection with them. In accord with Tanis MacDonald and Priscila Uppal, these poets resist closure and interrogate the past. Moreover, they counter maternal absence and preserve her subjectivity in their texts. Similarly, a number of mother-poets begin constructing their mother-child (self-other) relationship prior to childbirth. Drawing on Lisa Guenther’s notions of “birth as a gift of the feminine other” and welcoming the stranger (49), as well as Emily Jeremiah’s link between “‘maternal’ mutuality” and writing and reading practices (“Trouble” 13), I investigate poetic strategies for negotiating and engaging with the “other,” the unborn/newborn and the reader. Other poets explore and interweave bits of stories, memories, dreams and inklings into their own motherlines, an identification with their matrilineage. Poetic discourse(s) reveal the limits of language, but also attest to the benefits of extra-linguistic qualities that poetry provides. The poets I study here make room for the interplay of language and what lies beyond language, engaging the reader and augmenting perceptions of the maternal subject. They offer new ways of signifying maternal subjectivities and relationships, and therefore contribute to the ongoing research into the ever-changing relations among maternal and cultural ideologies, mothering and feminisms, and regional women’s literatures.May 2016
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Montgomery, D'juana Ann. "Speaking through the silence Voice in the poetry of selected Native American women poets /." 2009. http://hdl.handle.net/10106/1652.
Повний текст джерела
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Kao, Jen-shyue, and 高甄斈. "Poetic Tour, Silent Gazing, and Deconstruction of History: Reading the Images from the Creative Ink Paintings of Kao Jen-shyue." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/93593789269054892512.
Повний текст джерелаАнотація:
碩士國立臺灣師範大學
美術學系
98
This study begins by observing the social phenomenon and analyzing the existence consciousness of the “human” under the “construct.” An ambiguous conceptual thinking emerges in one’s reading of the past and the history. Therefore, this study attempts to deconstruct the diachronic and historical sense and to move into a synchronic visionary thinking, utilizing the “present” to understand the metaphor and the metonymy, to comment on the reality, and to reflect on the existence of the “individual self” within the universal spirit. While reflecting on philosophy and life, the author attempted to find a “gestalt” construction through the cultural traces of “Confucian context,” “existence awareness,” and “historical complexion.” However, as the author realized, it is quite futile for one to find the history or to re-enact or resurrect a concrete and real existence. A hybrid cultural mixture becomes the preconsciousness of artistic creation. Therefore, in the conundrum of historical and cultural axes, the power relations of existing structures are uncertain and ambiguous. The historical images of figures enact power relations. An awakened consciousness reassembles the ambiguous and broken memories, and, in its misreading and uncertain interpretation, the anamorphic reality becomes interesting. Therefore, because the author tries to escape the tradition determined by history or cultural constructs, and borderline discourse emerges. This borderline discourse connotes an anxiety and a sense of absurdity towards its own immediate existence. It enunciates the silence. Painting is a silent language. Ambiguity is its discourse of observation. In this way, complexicity becomes a multi-dimensional mode of thinking. By a genealogical examination, this study discusses the “deconstruction” techniques in artistic performance, and, after the deconstruction, this study also constructs an aesthetic dimension, “fathom the void” and “limit writing.” Through the creative performance of ink painting, this study attempts to find the possible aesthetic construction of white space and writing. Guided by this philosophical and artistic thinking, this study takes up historical images as the medium for the artistic language. Moreover, this study also adopts the technique of “paste” to interpret the concept of “ambiguity.” To paste again and again is the language of “plentitude” and it deconstructs the innate material nature of the paper. To paste is to “supplement” in a fuzzy way. It makes the “mis-reading” of reading the past an imaginary act. The moment one engages the past, the past becomes history and transforms into a readable text. It is the creation of history on the basis of the paradox of “pasting.” It accomplishes the artistic intention through artistic creativity.
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"Silent no more: Older adults as poets. Creative writing as a preventative approach to cognitive decline of the elderly." UNION INSTITUTE AND UNIVERSITY, 2007. http://pqdtopen.proquest.com/#viewpdf?dispub=3262830.
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Theinová, Daniela. "Meze a jazyky v poezii současných irských autorek." Doctoral thesis, 2013. http://www.nusl.cz/ntk/nusl-327433.
Повний текст джерелаАнотація:
Filozofická fakulta Univerzity Karlovy v Praze DISSERTATION ABSTRACT Daniela Theinová LIMITS AND LANGUAGES in Contemporary Irish Women's Poetry "Irish poetry" is an inherently equivocal concept characterized by two fissures, one linguistic (Irish-English; standard English-Hiberno English) and the other chronological (oral-written; Old Irish-modern Irish). Central to my project is to show how this bifurcate cultural identity, prominent in Irish literature due to Ireland's history and the politicized concept of "national language," figures in poetry by Irish women of the last forty years. While I account for the significance of the hyphen in Anglo-Irish as well as in Gaelic-Irish poets, contradictory tensions are traced not only across and along the linguistic divide. In attending to the shift from feminism (Eavan Boland, Eiléan Ní Chuilleanáin, Paula Meehan, Medbh McGuckian, and Nuala Ní Dhomhnaill) to post-feminism in Irish poetry (Biddy Jenkinson, Vona Groarke, Caitríona O'Reilly, and Aifric Mac Aodha), I illustrate the role that the border between English and Irish has played in these processes. The dissertation falls into two parts each of which consists of two chapters. Part One explores some of the ways in which poets have confronted the inherited tradition and the feminine stereotypes therein. My...