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Cutri', Davide <1990>. "Il caso letterario di 'ars poetiqah all'interno della poetica mizraḥit." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/7566.
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Nella mia tesi si analizzerà il fenomeno letteraio e poetico di 'ars poetiqah, si cercherà di contestualizzarlo all'interno della letteratura mizraḥit israeliana, cercando di chiarire se si possa davvero parlare di un movimento "reazionario" ed "innovativo". Inoltre, si analizzeranno le biografie degli autori più significativi e le loro opere, anche alla luce degli articoli e delle opinioni pubblicate dalla critica giornalistica e letteraria.
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Seibel, George L. IV. "Being a Poet." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1346412172.
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Furlan, Mauri. "Ars traductoris questões de leitura-tradução da ars poetica de Horacio." Florianópolis, SC, 1998. http://repositorio.ufsc.br/xmlui/handle/123456789/77364.
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Dissertação (Mestrado) - Universidade Federal de Santa Catarina, Curso de Pos-Graduação em LiteraturaMade available in DSpace on 2012-10-17T03:24:51Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-09T00:24:47Z : No. of bitstreams: 1 148230.pdf: 2406677 bytes, checksum: fdd1367f232f199e33e1f8cf552addb8 (MD5)
Com uma abordagem ancorada sobretudo nas concepções de tradução como descentramento e re-enunciação por um sujeito histórico (Meschonnic), re-criação do modo de significar do original na forma da língua da tradução (Benjamin), substituição de equivalentes (Catford), a questão básica, teórica, deste trabalho emerge de uma prática de tradução e objetiva refletir sobre possibilidades e implicações de uma leitura-tradução contemporânea de um texto, literário, como o da Ars Poetica, de Horácio, do séc. I a.C. A perspectiva adotada aponta para a concepção de que a tradução é possível porque é possível a leitura do original: re-textualização. Todo texto sempre possibilita um número ilimitado de leituras, logo, sempre poderá haver um número ilimitado de traduções de um mesmo texto. Cada tradução é uma releitura histórica, o que as torna mais ou menos ideológicas, e daí também seu envelhecimento e a necessidade de retraduções. Para subsistir ao lado do original, para atingir sua imortalidade, uma tradução precisa ser produzida a partir da signifiance, e atingir valores supra-históricos (supra-ideológicos), como o fez o original. As implicações de uma prática tradutória (análise, crítica, tradução) principiam na adoção de um modelo conceptual de tradução, passando por um correspondente processo de leitura-tradução, e na prática da tradução, até à recriação de um texto na língua de chegada. Abstract : Avec une approche ancrée surtout sur les conceptions de la traduction entendue comme décentrement et ré-énonciation par un sujet historique (Meschonnic), re-création du mode de signifier de 1' original dans la forme de la langue de traduction (Benjamin) ou encore substitution d'équivalents (Catford), la question basique, théorique de cette étude émerge d'une pratique de la traduction et a pour objectif de réfléchir sur les possibilités et les implications d'une lecture-traduction contemporaine d'un texte littéraire comme celui de Ars Poetica d'Horace, datant du ler siècle avant J.-C. La perspective adoptée se penche vers la conception selon laquelle la traduction est possible car est possible la lecture de ltoriginal: re-textualisation. Tout texte offrant la possibilité d'un nombre illimité de lectures, il pourra toujours y avoir un nombre illimité de traductions d'un même texte. Chaque traduction est une relecture historique, ce qui les rend plus ou moins idéologiques, d'où aussi son vieillissement et la nécessité de retraductions. Pour subsister à côté de l'original, pour atteindre son immortalité, une traduction doit d'être produite à partir de la signifiance et atteindre des valeurs supra-historiques (supra-idéologiques) comme l'a fait l'original. Les implications d'une pratique traductoire (analyse, critique, traduction) commencent par l'adoption d'un modèle conceptuel de traduction, en passant par un processus correspondant de lecture-traduction, et allant, dans la pratique de la traduction, même jusqu'à la recréation d'un texte dans la langue d'arrivée.
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Bugan, Carmen. "Poetics of exile : East European poetry in translation and Seamus Heaney's Ars Poetica." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408092.
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Пащенко, Оксана Григорівна. "Історіософські концепції ars poetica О. Ольжича в контексті "Празької школи"." Diss. of Candidate of Philological Sciences, М-во освіти і науки України, Київ. нац. ун-т ім. Тараса Шевченка, 2013.
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Cheyne, Peter Robert. "Ars biographica poetica : Coleridgean imagination and the practical value of contemplation." Thesis, Durham University, 2014. http://etheses.dur.ac.uk/10754/.
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This thesis begins by examining how Coleridge Romanticizes Platonism. I argue that Coleridge creatively recasts Plato’s Divided Line analogy, and thereby finds a higher role for a radically re-thought imagination. Through this recast imagination, Coleridge develops a Romantic Platonism by elevating imagination and modifying Plato’s linear scheme into a polarity that harmonizes sense and reason. I argue that Coleridge’s philosophy develops in response to the Empiricist philosophy that dominated the British practice, and transcendental idealism that flourished in Germany. I argue that Coleridge’s philosophy is neither Empiricist, nor a mere translation of German idealism, as critics have sometimes suggested, but that it is quintessentially Platonic. Unlike Plato, however, Coleridge elevates the status of imagination, separating it from fantasy (or fancy, as he calls it), which retains the subordinate position it has for Plato. Attacking Empiricist philosophy, Coleridge argues that reason and its Ideas (and not the understanding) constitute and indeed exceed the apex of human thought, a distinction corresponding to Plato’s between noesis and dianoia. I present a view, developing from Coleridge and answering Plato, of how the practical and the contemplative lives can bring each other nearer to fulfilment, such that, to use Plato’s terms, contemplation can be perfected in the return to the cave, rather than be prevented there, as is often feared. I examine how Coleridgean imagination and reason operate as the higher, ‘spiritual mind’, balancing the lower ‘mind of the body’. While the lower mind desires and consumes, with fancy restlessly moving through ever-shifting mental images, the higher mind yearns, and contemplates, finding stillness in beholding value. I propose what I call the contemplative ars biographica poetica, suggesting not only that we should live our lives as the poetic art of life-writing, but also that we already do so. Usually we shape our lives unawares of any poetic task, yet we manage nevertheless to retrieve moments of strikingly beautiful meaning despite decades-long disasters prolonged by deliberate blindness and a pathological obstinacy that values mere repetition above reason. This art at its best, however, relates to philosophy as the former seeks in the latter a satiating vision, a wisdom to answer profoundest yearning.
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Poujade, Baltazard Sylvaine. "Francisci Robortelli Vtinensis in librum Aristotelis De arte poetica explicationes : introduction, édition, traduction." Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20069.
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Ce travail présente une édition et une traduction de l'ouvrage d’une des figures marquantes de l’humanisme italien de la Renaissance, Francesco Robortello, intitulé Francisci Robortelli Vtinensis in librum Aristotelis De arte poetice explicationes. Il s'agit du premier commentaire à être publié de la Poétique d'Aristote. L'ouvrage paraît à Florence en 1548, et fait l’objet d’une deuxième édition, révisée par ses soins, à Bâle en 1555 : le commentaire est précédé du texte grec de l’édition aldine des Rhetores Graeci de 1508, accompagné d'une traduction latine d’Alessandro Pazzi qui date de 1536. Robortello est à l'origine de la redécouverte, voire de la découverte en Italie des analyses aristotéliciennes sur l'art poétique, texte difficile qu'il cherche à rendre accessible aux lettrés de son époque. Cette étude a consisté à établir le texte par la confrontation des deux imprimés de Florence et de Bâle, et permet, en découvrant l’ensemble des analyses de l’auteur, de montrer que cecommentaire, loin d’être une interprétation erronée du texte d’Aristote, est une première lecture sur la voie de notre compréhension moderne des lois de la création poétiqueThis work is an edition and a translation in French of Robortello’s text untitled Francisci Robortelli Vtinensis in librum Aristotelis De arte poetice explicationes. It is the first published commentary on the Poetics, edited in 1548 in Florence, and revised for a second edition in Basel in 1555. The book contains an edition of the Greek text of the Poetics, based onthat of Aldine edition of 1508, but with several emendations, followed by Pazzi’s Latin translation dated from 1536, and his own commentary. This study, by discovering the whole of the author's analyzes, shows that this comment, far from being anerroneous interpretation of Aristotle's text, is a first reading on the path of our modern understanding of the laws of poetic creation
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Boast, Rachael. "Dark saying : a study of the Jobian dilemma in relation to contemporary ars poetica : Bedrock : poems." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/906.
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Part I of this thesis has been written with a view to exploring the relevance a text over 2500 years old has for contemporary ars poetica. From a detailed study of ‘The Book of Job’ I highlight three main tropes, ‘cognitive dissonance’, ‘tĕšuvah’, and ‘dark saying’, and demonstrate how these might inform the working methods of the contemporary poet. In the introduction I define these tropes in their theological and historical context. Chapter one provides a detailed examination of ‘Job’, its antecedents and its influence on literature. In chapters two and three I examine in detail techniques of Classical Hebrew poetry employed in ‘Job’ and argue for a confluence between literary technique and Jobian cosmology. Stylistically, the rest of the thesis is a critical meditation on how the main tropes of ‘Job’ can be mapped onto contemporary ars poetica. In chapter four I initiate an exploration into varying responses to cognitive dissonance, suggesting how the false comforters and Job represent different approaches to, and stages of, poetic composition. A critique of an essay by David Daiches is followed by a detailed study of Seamus Heaney. In chapter five I map the trope of tĕšuvah onto contemporary ars poetica with reference to the poetry of Pilinszky, Popa, and to the poems and critical work of Ted Hughes. The chapter concludes with a brief exploration into the common ground shared between the terms tĕšuvah and versus as a means of highlighting the importance of proper maturation of the work. Chapter six consists of a discussion of how the kind of ‘dark saying’ found in ‘Job’ 38-41 impacts on an understanding of poetic language and its capacity to accelerate our comprehension of reality. I support this notion with excerpts from Joseph Brodsky and a close reading of Montale’s ‘L’anguilla’. Chapter seven further develops the notion of poetry as a means of propulsion beyond the familiar, the predictable or the clichéd, by examining the function of metaphor and what I term ‘quick thinking’, and by referring to two recently published poems by John Burnside and Don Paterson. In chapter eight I draw out the overall motif implied by a close reading of ‘Job’, that of the weathering of an ordeal, and map this onto ars poetica, looking at two aspects of labour, which I identify as ‘endurance’ and ‘letting go’, crucial for the proper maturation of a poem or body of poems. The concluding chapter develops the theme of the temple first discussed in chapter one. I argue for a connection between Job as a temple initiate, who has the capacity to atone for the false comforters, and poetry as a form of ‘at-one-ment’. This notion is supported by reference to Geoffrey Hill and Rilke. Part II of the thesis consists of a selection of my own poems, titled ‘Bedrock’.
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Williams, Hamish. "To what extent does Horace present a coherent præceptor persona in the Ars poetica?" Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/14599.
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Includes bibliographical references (leaves 184-210).In the ensuing dissertation I explore the extent to which a coherent praeceptor persona may be found in Horace's Ars Poetica. In the first chapter, 'Interpreting the Ars Poetica', I commence by reviewing and commenting upon previous critical attempts to explain Horace's poem. This I have divided into three main sections: 'Interpretations of Incoherence', 'Interpretations of Coherence', and 'Authorial Personae'. In the first of these I explore how some critics have denied the possibility of arriving at a coherent interpretation of the poem, which they regard as an unfinished hotchpotch effort. Most notably in this section I illustrate how the Ars Poetica fails to conform to the expected form of any one particular literary genre. In the second section, 'Interpretations of Coherence', I examine attempts, particularly Brink's in his Prolegomena, to structure the poem into certain fixed aesthetic units, and I then explore some of the difficulties of utilizing such rigorous and tendentious rubrics in a flexible and free-flowing poem. Lastly, in the third section, 'Authorial Personae', I review more modern attempts to explain Horace's poem through the identification of an authorial persona within the text. I proceed to justify my preference for this interpretative method by explaining it both with reference to modern literary theory and ancient poetic and dramatic practice. Lastly, in this chapter I briefly introduce the character of the authorial persona whom I shall endeavour to locate in the Ars Poetica – the teacher or praeceptor persona. In the second chapter, 'The Praeceptor Persona in Play', I commence by trying to build a characteristically Horatian concept of the teacher figure in the Ars Poetica, in my section, 'The Horatian Concept of the Praeceptor'. To this end I turn to the Satires of Horace, particularly, 1.1, 1.4, and 1.10, where I show that the Horatian model of a praeceptor can be explained through three conceptual criteria – 'instruction ', 'demonstration', and 'play'. Applying in turn each of these three conceptual criteria to the text of the Ars Poetica I illustrate how the very language of the authorial persona of the poem fulfils these criteria. In the third chapter, 'The Teacher of Satire 1.4 ', having established the presence of a Praeceptor persona in the Ars Poetica, I turn my attention to the Satires of Horace where the most extensive critical work has been undertaken with respect to the character of the authorial persona; particularly, since it has informed my concept of the Horatian praeceptor, I examine the teacher figure of Satire 1.4. In the first section, 'Interpretations of the Teacher Persona', I examine and criticise four scholarly attempts to explain the character of the teacher figure in the sermo. I identify the mixture of instruction and humour in the language as the key critical concern of these critics. In the final section, 'The Playful Satirist' I then apply my conceptual criterion of 'play' to the discourse of the teacher of 1.4, suggesting that his humour is not incompatible with instruction, but is actually a vital constituent of his role as a praeceptor. Finally, I give a brief 'Epilogue', summarising my analysis and, more importantly, emphasising the importance of identifying a characteristically Horatian model of a praeceptor. A detailed bibliography is then given of the source material consulted and references used through the dissertation.
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Weiner, Sophie. "THE DUMB WEIGHT." UKnowledge, 2018. https://uknowledge.uky.edu/english_etds/67.
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“Poetry makes nothing happen,” W.H. Auden famously articulates in “In Memory of W.B. Yeats, “it survives / A way of happening, a mouth.” The Dumb Weight is a collection of poems that explores this tension, always trying to locate the body, how it speaks, its language. The poems take as their subject the act of making as a performance of knowingness, an assumed familiarity as that of an intimate listener, and attempts to navigate the space between utterance and its subject, it’s author and speaker, speaker and what is spoken, between poem and you—for if what John Ashbery writes in “Paradoxes and Oxymorons,” is true, “the poem is you.”
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Nardello, Chiara. "Il commento di Francesco da Buti all'Ars poetica di Orazio." Doctoral thesis, Università degli studi di Padova, 2008. http://hdl.handle.net/11577/3425078.
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The thesis prepared introduces the edition and analysis of the unpublished comment of Francesco da Buti on Horace's Ars poetica. The comment written at the end of XIV century and probably meant for scholarly aims, is to be considered a small, but precious example of the success of the Classics in medieval times and,in particular, of the great esteem granted to Horace's Ars poetica, which was used both by men of letters and by teachers at school education., owing to its contents of regulations.
The thesis first focuses on the figure of Francesco da Buti, an experienced grammarian, a good connoisseur of the Classics (Horace, Persio, Terenzio) and of medieval texts (the Commedia and the Dottrinale). Francesco da Buti's exegetical work can be inserted in the context of the medieval interpretation of the Classics and, in particular, of Horace's work.
This frame of reference is further analysed through a proper confrontation of a number of comments on Ars poetica written before (and limited to those published for practical reasons). Accordingly, particular attention has been given to the first work (Porfirione's and pseudo-Acrone's), to the comment handed down by codes Par.Lat. 7971,7972,7974, probably written in the late Carolingian Age, to Scholia, handed down by Par.Lat. 17897 dating back to the XI century as well as to other following expositions. The Scholia are the first, known example of the renewed interest in Horace's poetry following the rules of the Auctores, that is, the Scholia Vindobonensia (IX century), the Anonymus Turicensis (XII century) and the Materia (XII, area id Chartres).
The main part of the thesis work is devoted to the edition and analysis of the Butian comment. The text is written on the basis of Ambr. E 3 Sup. manuscript, as the other evidence, ms 30 of the Biblioteca Comunale of San Gimignano, is here described.
The ample number of notes included, apart from quoting the sources accurately and examining the grammar observations in the comment exhaustively , also appears to clarify the letter of the text, not always clear, and to suggest a possible interpretation of ambiguous settings. In addition, the thesis work carried out an accurate and meaningful comparison with previous comments and as far as possible, with the other exegetical works of Francesco da Buti, so that as to characterize the comment with rapport to the different kinds of medieval comments and to propose its proven position being used in traditional writing genres, mainly those connected with the university milieu and thus aimed at teaching.
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PERSICO, Thomas (ORCID:0000-0001-5476-4442). "«Modulatio» e «Cantus»: actio poetica e ars musica in Dante Alighieri. Rassegna bibliografica e studio lessicografico." Doctoral thesis, Università degli studi di Bergamo, 2016. http://hdl.handle.net/10446/63790.
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Yamamoto, Cícera Rosa Segredo. "Memória e identidade na poética de Manoel de Barros." Universidade Presbiteriana Mackenzie, 2016. http://tede.mackenzie.br/jspui/handle/tede/3054.
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Manoel de Barros is a poet and as defines itself, "word of poet", whose poems are closely related to the Pantanal (South) of Mato Grosso, putting on display the close relationship between the work and the context. We search to answer along the thesis, three questions: if the "poetic inspiration" by Manoel de Barros transcends his personal experience in his books, or the place and time where pronounced are so present in the works that ultimately enroll them autobiography traces; if the traits that make up the poetic writer can do (or not) identify in their works a poet "local" or a universalizing poetic; such as (South) Mato Grosso writer, chronologically enrolled in the "45 generation" articulates tradition and innovation in his poetic construction. Confirming or deconstructing "truths" published on the poetics of the author and searching new constructs and aesthetic effects that literary production, we have the following objectives: identify regularities and dispersions in the form and content of the poems; discuss the relationship between local and universal, between tradition and modernity, between memory and invention and among selves / others who live in the works; search identifying traits of poetic writer. To this end, we elected as corpus of research two works of Manoel de Barros: Poemas concebidos sem pecados (1937), the first book of the writer, and Memórias inventadas: A terceira infância (2008), searching to bridge the gap between the first and one of the last books the poet. Compliance with the proposed objectives requires, however, in addition to "face" the work, to provide himself with a theoretical foundation. Thus, we use of Candido (2000) to treat the issue of the location of the dialectic and universal literary decolonization, as well as the relationship of author-work-public. To clarify concepts or principles "technical" essential to the analysis, such as "tradition," "influence" and "intertextuality", we called to Nitrini (2000), to whom we add Bakhtin (2011), mainly to treat style, aesthetics and exotopy, and Paz (1972; 1991). For understanding the concept of identity, the support came from Hall (2011) and other invited authors to the reflections on identity and memory, as Gusdorf (1951, 1990, 1991), Bergson (2006), Halbwachs (2003), Ricoeur (2007) and Candau (2014). In addition to these authors, some others will emerge in due course, because indispensable to poetry reading Manoel de Barros. We found that Barros excluded from his poetry any purpose of describing landscapes or historicizing costumes, putting on display the dialogue, rapprochement and the gap between the selves, times and spaces. Barros attributed his lyricism to "a desert in the eye" and to express it, took a seemingly autobiographical format, just like the invention feature because sang "what was not," but what had missing "for not having been "revealing us exotopy spoken by Bakhtin (2011). From our reading, the memory was not as "representation" but as "eye divination" in tone and unmistakable verses of Manoel de Barros.
Manoel de Barros é poeta e, como se autodefine, “poeta da palavra”, cujos poemas guardam íntima relação com o Pantanal (sul-)mato-grossense, pondo à mostra a estreita relação entre a obra e o contexto. Procuramos responder, ao longo da tese, a três questões: se a “inspiração poética” de Manoel de Barros transcende sua experiência pessoal nos seus livros, ou se o lugar e o tempo de onde se pronuncia são tão presentes nas obras que acabam por inscrever nelas traços de autobiografia; se os traços que constituem o fazer poético do escritor podem (ou não) identificar em suas obras um poeta “do local”, ou uma poética universalizante; como o escritor mato-grossense, cronologicamente inscrito na “geração de 45”, articula tradição e inovação em sua construção poética. Ratificando ou desconstruindo “verdades” publicadas sobre a poética do autor e buscando novos construtos e efeitos estéticos nessa produção literária, temos como objetivos específicos: identificar regularidades e dispersões na forma e conteúdo dos poemas; discutir a relação entre local e universal, entre tradição e modernidade, entre memória e invenção e entre os eus/outros que convivem nas obras; buscar traços identificadores da poética do escritor. Para tanto, elegemos como corpus da pesquisa duas obras de Manoel de Barros: Poemas concebidos sem pecado (1937), primeiro livro do escritor, e Memórias inventadas: terceira infância (2008), procurando fazer uma ponte entre o primeiro e um dos últimos livros do poeta. O cumprimento dos objetivos propostos requer, no entanto, além de “enfrentar” a obra, munir-se de uma fundamentação teórica. Assim, valemonos de Candido (2000) para tratar da questão da dialética do local e do universal na descolonização literária, bem como da relação autor-obra-público. Para esclarecer conceitos ou princípios “técnicos” essenciais à análise, como tradição, influência e intertextualidade, recorremos a Nitrini (2000), a quem agregamos Bakhtin (2011), sobretudo para tratarmos de estilo, estética e exotopia, e Paz (1972; 1991). Para a compreensão do conceito de identidade, o apoio veio de Hall (2011) e de outros autores convocados para as reflexões sobre identidade e memória, como Gusdorf (1951, 1990, 1991), Bergson (2006), Halbwachs (2003), Ricoeur (2007) e Candau (2014). A esses autores de referência, alguns outros emergem oportunamente, porque indispensáveis à leitura da poesia de Manoel de Barros. Verificamos que Barros excluía de sua poesia qualquer propósito de descrever paisagens ou historiar costumes, pondo à mostra o diálogo, a aproximação e o distanciamento entre os eus, os tempos e os espaços. Barros atribuía seu lirismo a “um ermo dentro do olho” e, para expressálo, adotou um formato aparentemente autobiográfico, apenas como recurso de invenção, pois cantou “o que não fora”, mas do que tinha saudade “por não ter sido”, revelando-nos a exotopia de que fala Bakhtin (2011). De nossa leitura, ficou a memória não como representação, mas como "olho divinatório", em tom e versos inconfundíveis de Manoel de Barros.
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Tillinghast-Akalin, Julia Clare. "Post Everything." Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/77476.
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This is a collection of poems that are confrontations with the self – the self as a vessel of memory (hence the “Post” in the title, in addition to its double-meaning of “Post,” as in online self-revelation), as writer, as mother of a young child, as wife, as lover, writer, psyche, self-reflexive animal. The voice is private, heightened, direct, and colloquial, engaging in unexpected imagery, figurative language, and grammatical-play, and drawing from all levels of language and culture. The poems often record the process of trying to untangle the complexity of the self at the moment of writing, and they incorporate the particulars of the moment of writing, or associations at the moment of writing, as scaffolding for self-reflection. They are philosophical in a personal sense. Some of areas of concern explored or touched on in the poems include place, privilege, God, music, contradiction, ambivalence, the intersections of pain and pleasure, family, community, isolation, connection/disconnection, romantic love, gender, sexuality, victimization, morality language, and depression, but most of all, the state and degree and struggle for self-awareness vis-à-vis these issues. Most of these poems come through a self or a self-persona, and that self is a sensitive, even volatile character – through childhood, adolescence, marriage & martial separation, and motherhood. Often, in these poems, this self seeks refuge, escape, and redemption through language and through the body. The poet also explores form and poetic mode, in disrupted or reimagined narrative, villanelle, elegy, and sonnet form.Master of Fine Arts
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Le, touze Anna. "Francisci Robortelli Vtinensis paraphrasis in libellum Horatii qui vulgo de arte poetica inscribitur : introduction, édition, traduction annotée." Thesis, Rennes 2, 2021. https://tel.archives-ouvertes.fr/tel-03248316.
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Ce travail présente une édition et une traduction annotée de la paraphrase à l’Art poétique d’Horace de Francesco Robortello, philologue de la Renaissance célèbre pour son commentaire à la Poétique d’Aristote. La paraphrase paraît en 1548 à Florence, au sein du volume qui contient le commentaire à Aristote. Elle est rééditée à Bâle en 1555 avec le commentaire à la Poétique. Cette paraphrase prend place au sein de la nébuleuse des commentaires à l’Art poétique d’Horace qui se multiplient à la Renaissance. Cette étude montre que la paraphrase de Robortello s’inscrit dans une tradition du commentaire qui remonte à l’Antiquité et qu’elle se distingue des autres commentaires humanistes par sa forme et par l’intégration de nombreuses références à la Poétique d’AristoteThis work consists of an edition and a translation with commentary of the paraphrase to Horace's Art of Poetry by Francesco Robortello, a Renaissance philologist famous for his commentary on Aristotle's Poetics. The paraphrase was published in 1548, in Florence, and belongs to a volume that contains the commentary on Aristotle. It was published again in Basel in 1555 with the commentary on Aristotle's Poetics. This paraphrase is part of the myriad of commentaries on Horace's Art of Poetry that proliferated during the Renaissance. This study shows that Robortello’s paraphrase is part of a tradition of commentary that goes back to Antiquity and that it differs from other humanistic commentaries by its form and by its many references to Aristotle’s Poetics
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Araujo, Joana Souto Guimaraes. "\"Com palavras amo\": um estudo das imagens em poemas de Eugênio de Andrade." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-12042013-102948/.
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Na poesia de Eugénio de Andrade (1923-2005), a mudança não constitui propriamente um desligamento ou uma ruptura, mas um reencontro. Sua poesia persegue, na transformação, a possibilidade de permanência, e assim constrói, por meio da continuidade de seus elementos, um movimento cuja variação desperta uma série de associações ou ressonâncias. Com vistas na dinâmica fluida dessa poesia, esta dissertação de mestrado propõe uma análise de signos e disposições imagéticas recorrentes em Poemas (1945-1965), reunião da primeira fase de sua obra, publicada em 1966. Muitas das imagens selecionadas, motivadas pelos temas do amor e do fazer poético, traçam movimentos de deslocamento e expansão, e serão lidas como alusões à palavra poética, que, ora em nascimento, ora em transformação, sublinha a existência de uma estrutura poética autônoma e autorreflexiva. Desse modo, identificamos núcleos poéticos em cada um dos sete livros da coletânea, movimentados por signos centrais, que se desenrolam, confrontam-se, e permitem uma leitura conjunta dos poemas. Por meio de prefácios e poemas de abertura, seguidos de outros poemas e trechos relevantes, pretendemos investigar a formulação de uma concepção poética, que se revela, antes de mais nada, em permanente renovação, evidenciando esforços afirmativos contra a paralisia do sujeito e em diálogo com a condição crítica do mundo moderno. Pois, ainda que a poesia de Eugénio de Andrade procure sua expressão na própria realidade das palavras, não deixa de manifestar um momento histórico em que o sujeito enfrenta a consciência dolorosa de um mundo caótico, fragmentado, e separado da natureza.This dissertation aims at analyzing the main poetic signs and images in Poemas (1945-1965), collection of the first poetry by the Portuguese Eugénio de Andrade, published in 1966. Many of the selected images, read as allusions to the poetic expression, draw movements of dislocation and expansion, revealing an autonomous and reflexive poetic structure which remains in perpetual transformation. In each one of the seven books included in the collection, we identify a poetic nucleus developed around a group of poems, linked by a dominant and recurrent sign. The dynamic of rotation and repetition of signs and images prescribe movement to the poetry by Eugénio de Andrade, organizing cycles that narrate stories of love and poetic emergence, from its birth to its decease or exhaustion, usually lamented by a tragically abandoned poetic subject. Our corpus constitutes of the preface, the opening poem of each of the seven books, as well as other relevant poems and extracts. The main purpose is to investigate the formulation of a poetic conception which reveals itself in constant change and reformation, seeking permanence through the very act of transformation. Its affirmative efforts can be read in association with the tensions lived by the modern individual, who constantly tries to overcome his particularly conflictuous historical moment in which his fellow men can only face a chaotic and fragmented existence, distant from nature and from any kind of reconciliation.
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Glinatsis, Robin. "La place de l'Epître aux Pisons dans l'œuvre d'Horace : vers une recomposition de la poétique horatienne." Lille 3, 2010. http://www.theses.fr/2010LIL3A001.
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Dans l'Epître aux Pisons, Horace pose des règles qu'il estime indispensables à la composition d'un poème digne de ce nom. Aussi la postérité, assimilant le texte à un traité de poésie, lui a-t-elle volontiers attribué le nom d'Ars poetica. Un examen attentif des particularités stylistiques de l'œuvre révèle pourtant des dissemblances avec les ouvrages techniques antérieurs et contemporains. En qualité d'épître, le texte adopte la langue du sermo, qui, en ce qu'elle imite la conversation à bâtons rompus, offre au discours souplesse formelle et liberté d'expression. L'œuvre, prompte à employer des procédés discursifs étrangers aux artes traditionnelles, n'est donc pas un art poétique en bonne et due forme et doit être rendue à sa singularité. L'Epître aux Pisons, d'ailleurs, n'a pas le monopole de la théorie au sein du corpus horatien. Il se constitue, dans les Epodes, les Satires et les Odes, marquées par le phénomène de la réflexivité, de véritables arts poétiques en acte : dans le langage qui lui est propre, chaque recueil déploie une réflexion fragmentaire mais cohérente sur le genre qu'il investit. De plus, les Epitres des livres I et II contiennent des fragments de théorie poétique absents, pour certains, de l'Epître aux Pisons. Il paraît néanmoins possible de retrouver, au-delà de la pluralité des pôles théoriques émaillant le corpus horatien, une poétique unitaire, fondée sur trois principes transversaux : la question du rapport aux modèles auctoriaux, la nécessité d'une collaboration de la technique humaine et du génie inspiré des dieux et enfin la recherche de la mediocritas, cet idéal du juste milieu et de la mesure en toutes chosesIn the Epistle to the Pisos, Horace sets forth several rules which he considers indispensable to writing poem worthy of bearing that designation. Therefore, generations of scholars, understanding the text as a treatise on poetry, commonly referred to it as Ars poetica. However, a closer examination of the work's stylistic devices discloses vast differences between this and both prior and contemporary technical works. As an epistle, the text adopts sermo, a language which imitates desultory conversation, providing the discussion with formal flexibility and freedom of speech. The work, written in a discursive style foreign to the traditional artes, is not therefore an art of poetry in the usual sense and should be considered as a unique singular poem. Moreover, the Epistle to the Pisos does not hold a monopoly on theory which is at the heart of the Horatian corpus. In fact, arts of poetry actually take form in the Epodes, the Satires and the Odes, which are permeated by the phenomenon of reflexivity : each collection, and its own language, develops a fragmentary but coherent reflexion on the exploited genre. Besides, the books I and II of the Epistles contain fragments of poetical theory which cannot all be found in the pistle to the Pisos. Nevertheless, it may be possible to trace, beyond the plurality of theoretical poles displayed through the Horatian corpus, a singular poetic art found on three main cross principles : the relation of the work to auctorial models, the need for synthesis of man's know-how and their deity inspired genius and, finally, the quest for mediocritas, the ideal of a happy medium and moderation in all things
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Merciecca, Lou. ""La fin sans fin, le commencement sans fin" de l'écriture : l'art poétique de Marguerite Duras dans ses écrits, films et entretiens." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2013. http://tel.archives-ouvertes.fr/tel-00997284.
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La grande variété et l'hybridité de l'œuvre durassienne ne sont plus à prouver. Dès lors, la question de l'art poétique de Marguerite Duras se pose de manière particulièrement probante ; elle est l'occasion de réenvisager différemment cette pratique artistique hétérogène, de dépasser les clivages traditionnels pour découvrir une conception intérieure et injonctive de l'écriture. Cette thèse propose d'analyser l'art poétique de Marguerite Duras à travers tous les modes d'expression utilisés par l'écrivain : écrits, films, mais aussi entretiens de toutes natures. L'objectif est de montrer que cet art poétique se construit dans la pratique et donc au fil de l'œuvre. L'écriture y devient métadiscours, elle est pensée comme processus incessant de dénaturation et de réécriture et ainsi confrontée à la métamorphose perpétuelle de sa forme. Ce travail aura pour fondement le phénomène de l'ombre interne, métaphore récurrente du métadiscours durassien, processus originel de l'écriture, déterminé par le mouvement, le commencement et la fin sans fin. Dans un premier temps, nous verrons que le paratexte durassien commente le phénomène de l'écriture mais se livre aussi à un véritable travail de création. Nous montrerons ensuite que les œuvres de nature générique indécidable et les pratiques extralittéraires de Marguerite Duras contribuent à faire du lieu de l'écriture un lieu en mouvement permanent, recourant à une altérité poétique fondamentale. Enfin, les textes fictionnels seront étudiés au regard de cette notion de fiction qui s'insinue dans le discours et dans le narratif et place l'écriture dans une zone particulièrement instable, requérant une absence indispensable.
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Dupraz-Rochas, Hélène. "La Revendication du plaisir littéraire : autour de Jean Renart et Raoul de Houdenc (XIIe–XIIIe siècles)." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040030.
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Le présent travail étudie un moment d’histoire littéraire et culturelle en langue française – à la charnière des XIIe et XIIIe siècles, autour de Jean Renart et Raoul de Houdenc – sous l’angle du plaisir littéraire. Les œuvres en vers de ces deux auteurs actifs au début du XIIIe siècle, qui révèlent une conscience auctoriale aiguë et que sous-tend une réflexion métadiscursive faisant la part belle au principe du delectare, sont révélatrices des jugements divergents que le Moyen Âge porte sur cette notion problématique. En effet, l’expression littéraire du plaisir se situe à la croisée de plusieurs champs discursifs qui en précisent le sens et éclairent ses enjeux sous des jours contrastés. La poésie se fait d’une part l’écho du discours dominant de l’Église et illustre la complexité de l’attitude des théologiens et des moralistes devant le plaisir littéraire, entre condamnation virulente et légitimation conditionnelle. Elle atteste – et accompagne – également l’épanouissement d’une autre idéologie, aristocratique et profane, bien plus favorable au plaisir puisque l’imaginaire courtois accorde au deduit littéraire une valeur à la fois éthique, sociale et politique. Elle reflète enfin la conception médiévale du Beau littéraire formalisée par les arts poétiques médiolatins qui en établissent le canon et dont le plaisir est le signe. Lieux de confrontation de ces discours souvent discordants, les œuvres littéraires du temps de Jean Renart et Raoul de Houdenc témoignent de la revendication nouvelle d’un plaisir présenté comme une valeur et une exigence. C’est une certaine conception de la littérature en langue vulgaire qui voit le jour autour de 1200This work focuses on a short period in French-language literary and cultural history—at the turn of 12th and 13th centuries, around the work of Jean Renart and Raoul de Houdenc—from the standpoint of literary enjoyment. The poetic output of these two early 13th-century authors, who display a keen authorial consciousness underpinned by a meta-discursive reflection that gives more than its due to the principle of delectare, testifies to the diversity of judgements that the Middle Ages pass on this controversial notion. The literary expression of enjoyment is indeed located at the crossing of several discursive fields that specify its meaning and shed contrasting lights on its stakes. Poetry both echoes the dominant views of the Church and epitomizes the complexity of attitudes of theologians and moralists towards literary enjoyment, between outright condemnation and conditional legitimiza-tion. It also bears witness to—and accompanies—the flowering of another ideology, aristocratic and secular, far more favourably disposed towards enjoyment, since the courtly imaginative world grants literary deduit a value that is at the same time ethical, social, and political. Lastly, it reflects the medieval conception of literary Beauty, as formalized by the ars poetica of Medieval Latin, which sets the canons and takes enjoyment as a sign. As a battlefield for these often discordant views, the literary works from the era of Jean Renart and Raoul de Houdenc testify to the appearance of a new claim to pleasure, considered both as an ethical standard and an entitlement. A certain conception of literature in the vernacular was thus born around year 1200
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Gargani, A. "Poetic comparisons : how similes are understood." Thesis, University of Salford, 2014. http://usir.salford.ac.uk/31952/.
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In this thesis I develop a pragmatic account of how similes are understood within the framework of relevance theory (Sperber and Wilson, 1995). Similes, or ‘poetic comparisons’, (Achilles is like a lion) and non-poetic comparisons (Wasabi is like mustard) are understood in similar ways. While non-poetic comparisons communicate that A is like B in terms of a (relatively) determinate range of respects in which the comparison is taken to hold, poetic comparisons achieve relevance by virtue of weak implicatures which are evoked, in part, in pursuit of certain respects in which the comparison holds. However, the outcome of simile understanding does not necessarily involve deriving a determinate range of points of comparison as part of the content of the comparison. In these cases, the speaker/author simply communicates that the relevance of the comparison lies in the fact that two entities or activities are being compared and the hearer/reader has the responsibility for deciding where relevance lies. This account explains: (i) why certain comparisons achieve relevance in this way (why certain comparisons are poetic); (ii) why metaphors and similes, nonetheless, can achieve similar effects; (iii) why competing accounts (which tend to conflate metaphor and simile) are vulnerable to counterexamples; (iv) why qualifying similes (Achilles is a lot like a lion) and supplying additional linguistically-specified content which relates to potential points of comparison (Achilles is like a brave lion; Achilles is like a lion in the parched savannah) does not make a comparison less ‘poetic’; (v) why certain relationships between tenor and vehicle tend to obtain in similes but not in non-poetic comparisons; and (vi) how certain types of metaphor/simile interaction work.
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Manalo, Paolo Marko. "Part 1, The balance of where we are : a theory of poetic composition in relation to cognitive poetics ; Part 2, The secret uncles : poems." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2121.
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Part 1 of the thesis, ‘The Balance of Where We Are: A Theory of Composition in Relation to Cognitive Poetics’, considers a compositional theory of poetry, with particular attention to the creative process, the poetic line, and trope. Drawing on from the disciplines of creative writing and cognitive poetics, this thesis asserts basic and important considerations for writing poetry. Chapter One seeks a model for the creative process that will aid in sustaining poetic composition but without dictating a specific method of writing. In presenting several theories of creativity it discusses ways of understanding these mental processes in preparation for the actual poem. It suggests an approach to poetry that will keep the writer focussed and aware of his or her limitations. Chapter Two establishes what it means to be writing poetry in an ‘age of cognitive science’ where some literary scholars have made a ‘cognitive turn’, by explaining the field of cognitive poetics. It considers specifically the cognitive poetics of Reuven Tsur as an important theory to enhance poetic composition. It connects some of Tsur’s discussions on poetic elements to enhance the craft-oriented approach to poetry. Chapter Three examines the poetic line as the basic unit of a poem which any compositional theory must consider. It reiterates the neural theory of the line as a ‘carrier wave’ of conceptual information that is both pleasing to the ear and the mind. It then re- evaluates specific poetic experiments concerning the line, and suggests a method of scanning to help the contemporary reader’s awareness of poetic rhythms. Chapter Four examines trope, specifically poetic metaphor in relation to the assumption of conceptual metaphor theory that poetic metaphors are extensions of everyday metaphors. It welcomes an alternative cognitive-literary explanation by re-iterating metaphor theories from Reuven Tsur and Don Paterson. Finally, it argues that the practitioner is always writing the variation of the ‘one’ poem that he or she has discovered. Part 2 of the thesis, ‘The Secret Uncles: Poems’, consists of my own poems.
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Dario, Maria. "André Salmon : alle origini della modernità poetica /." Venezia : Istituto veneto di scienze, lettere ed arti, 2001. http://catalogue.bnf.fr/ark:/12148/cb37719778s.
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Poch, John. "Sorry Guard." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2455/.
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Sorry Guard is a collection of poems with a critical introduction on poetic form. Form in poetry can be revealed vocally (how the poem sounds), temporally (how the poem makes use of time), and spatially (how the poem is visualized, both physically on the page due to typography and imagistically due to the shape and movement of its subject matter). In this preface, I will address these three aspects of form in relation to three distinct twentieth century poets: Robert Hass, W.S. Merwin, and W.H. Auden. I am most interested in how particular formal decisions shape meaning and value in poetry. My aesthetic approach here primarily dwells on what Helen Vendler calls, "the music of what happens."
The urgency of Robert Hass's spoken word is important to me because I wish to make poems that should be spoken aloud and remembered. While W.S. Merwin's rejection of punctuation is not my own aesthetic outlook, I strive to achieve through close attention to temporal form the mythic voice of his poemsthe immediacy of his lines and images, especially in his second four books. And Auden's deft use of spatial form is only a small aspect of his remarkable verse. All three poets are concerned with the inadequacy and failure of language in its modern use, yet they write with a certain hopeas if potential power lies hidden in the words.
Most of the poems in the dissertation concern failure. Speakers in the poems fail to prevent death or pain, and they fail to achieve an equally requited love. They fail to protect and to achieve oneness with their loved ones, and often they are left only with the consolation of imagination.
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Rose-Vails, Shannon. "Joy Harjo's Poetics of Transformation." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4358/.
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For Muscogee Creek poet Joy Harjo, poetry is a real world force that can empower the reader by utilizing mythic memory, recovery of history, and a spiral journey to regain communal identity. Her poetic career transforms from early lyric poems to a hybridized form of prosody, prose, and myth to accommodate and to reflect Harjo's concerns as they progress from personal, to tribal, and then to global. She often employs a witnessing strategy to combat the trauma caused by racism in order to create the possibility for renewal and healing. Furthermore, Harjo's poetry combats forces that seek to define Native American existence negatively. To date, Harjo's poetic works create a myth that will refocus humanity's attention on the way in which historical meaning is produced and the way difference is encountered. In an effort to revise the dominant stories told about Indians, Harjo privileges the idea that Native Americans are present and human, and it is this sense of humanity that pervades her poetry. Sequentially, Joy Harjo's volumes of poetry-She Had Some Horses (1983), In Mad Love and War (1990), and The Woman Who Fell from the Sky (1994)-create a regenerative cycle that combats the effects of oppressive history and racism. Through her poetry, violent and tragic events are transformed into moments of hope and renewal. Her collections are powerful testimonies of endurance and survival. They directly defy the stereotype of the "vanishing" or "stoic" Indian, but more importantly, they offer regeneration and grace to all peoples. The poems create a map to help navigate the multiple simultaneous realms of existence, to find a way to travel through the barriers that separate existence. In this dissertation, I employ various reading strategies to support my contentions. Blending a postcolonial standpoint with feminism, I believe Harjo uses a feminist ethnic bildungsroman to explain how a woman of color achieves maturation of self-identity given the many layers of restrictions that act to muffle her voice. Utilizing mediational theory, I study the way in which Harjo's poetry addresses multiple audiences in an attempt to achieve renewal. Furthermore, I posit that Harjo questions the validity of history, and through her retelling of the historical narrative, she impacts the collective consciousness of a nation in an attempt to combat the ill effects of historical trauma. Finally, Joseph Campbell's ideas about the sustaining power of myth, an idea shared by many Native Americans, shapes my arguments regarding Harjo's use of myth as a source of renewal and strength.
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Tadday, Ulrich. "New Historicism − Musikgeschichte als Poetik der Kultur." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71883.
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Fauser, Markus. "Intertextualität als Poetik des Epigonalen : Innermann-Studien /." München : Wilhelm Fink Verl, 1999. http://catalogue.bnf.fr/ark:/12148/cb373224910.
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Wels, Volkhard. "Daniel Heinsius’ neuplatonische Poetik und die „Constitutio tragoediae“ als Kommentar zur aristotelischen „Poetik“." Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2014/6911/.
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Der Aufsatz rekonstruiert Daniel Heinsius’ Verachtung der Philologie, wie sie in seinen „Orationes” zum Ausdruck kommt. Die These lautet, dass diese Verachtung in Heinsius’ neuplatonischer Poetik mit ihrer Sakralisierung der Dichtung begründet ist. In seinem Kommentar zur aristotelischen „Poetik“, der „Constitutio tragoediae“, ordnet Heinsius das technische Wissen der aristotelischen „Poetik“ der neuplatonischen Inspirationstheorie unter. Dadurch transformiert er den traditionellen, historisch-philologischen Kommentar in eine neue Form des technischen Handbuchs, wie es die „Constitutio tragoediae“ darstellt.The paper sketches out Daniel Heinsius' disdain for philology as expressed in his Orationes. It argues that this disdain was founded in Heinsius' neoplatonic poetics with its sacralisation of poetry. In his commentary on the Aristotelian Poetics, the Constitutio tragoediae, Heinsius subordinates the technical knowledge as expressed in the Aristotelian Poetics to the Neoplatonic doctrine of inspiration. By that, he transformed the traditional historical-philological commentary into the new type of technical handbook exemplified by the Constitutio tragoediae.
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D'Elia, Una Roman. "The poetics of Titian's religious paintings /." Cambridge : Cambridge University Press, 2005. http://catalogue.bnf.fr/ark:/12148/cb39938959v.
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Jusdanis, Gregory. "The Poetics of Cavafy : textuality, eroticism, history /." Princeton : N.J. : Princeton university press, 1987. http://catalogue.bnf.fr/ark:/12148/cb34955514s.
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Hicks, Jeremy. "Mikhail Zoshchenko and the poetics of "Skaz" /." Nottingham (GB) : Astra press, 2000. http://catalogue.bnf.fr/ark:/12148/cb38874448c.
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Saxer, Sibylle. "Die Sprache der Blicke verstehen Arthur Schnitzlers Poetik des Augen-Blicks als Poetik der Scham." Freiburg, Br. Berlin Wien Rombach, 2010. http://d-nb.info/999787403/04.
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Quatrario, Giovanni Di Iorio Ilio Napoleone Paola. "Natura e ambiente nell'opera poetica di Giovanni Quatrario da Sulmona : carmi scelti /." Sulmona : Accademia degli agghiacciati, 1994. http://catalogue.bnf.fr/ark:/12148/cb37181713p.
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Mickey, Samuel Robert. "Sounding sacred: Interpreting musical and poetic trances." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5261/.
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This essay investigates the relationship between trance and various musical and poetic expressions that accompany trance when it is interpreted as sacred. In other words, the aim of this investigation is to interpret how experiences of the entrancing power of the sacred come to expression with the sounds of music and poetry. I articulate such an interpretation through the following four sections: I) a discussion of the basic phenomenological and hermeneutic problems of interpreting what other people experience as sacred phenomena, II) an account of the hermeneutic context within which modern Western discourse interprets trance as madness that perverts the rational limits of the self, III) an interpretation of the expressions of trance that appear in the poetry of William Blake, and IV) an interpretation of expressions of trance that appear in the music of Afro-Atlantic religions (including Vodu in West Africa, Santería in Cuba, and Candomblé in Brazil).
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Mehtonen, Päivi. "Old concepts and new poetics : "historia", "argumentum" and "fabula" in the twelfth- and early thirteenth-century Latin poetics of fiction /." Helsinki : Societas Scientiarum Fennica, 1996. http://catalogue.bnf.fr/ark:/12148/cb37172566r.
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Anten, Hans. "Het bekoorlijk vernis van de rede : over poetica en proza van F. Bordewijk /." Groningen : Historische uitg, 1996. http://catalogue.bnf.fr/ark:/12148/cb369866595.
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Pompe, Anja. "Peter Handke Pop als poetisches Prinzip." Köln Weimar Wien Böhlau, 2009. http://d-nb.info/994073909/04.
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Pein, Annette. "Schiller and Zhukovsky : aesthetic theory in poetic translation /." Mainz : Liber Verl, 1991. http://catalogue.bnf.fr/ark:/12148/cb389501904.
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Kang, T'ae-ho. "Poesie als Kritik und Selbstkritik Hans Magnus Enzensbergers negative Poetik /." [S.l. : s.n.], 2002. http://deposit.ddb.de/cgi-bin/dokserv?idn=969224575.
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Petzer, Tatjana. "Geschichte als Palimpsest Erinnerungsstrukturen in der Poetik von Danilo Kiš." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2006. http://d-nb.info/990411796/04.
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Irlam, Shaun. "Elations : the poetics of enthusiasm in Eighteenth-century Britain /." Stanford (Calif.) : Stanford university press, 1999. http://catalogue.bnf.fr/ark:/12148/cb38919872g.
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Flieger, Hanna. "Il rapporto varianti/costanti nella poetica di Italo Calvino : modalità attanziali e implicazioni culturali /." Toruń : Wydawnictwo, 1994. http://catalogue.bnf.fr/ark:/12148/cb35750230s.
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Chinca, Mark. "History, fiction, verisimilitude : studies in the poetics of Gottfried's "Tristan /." London : Modern humanities research association for the Institute of Germanic studies, University of London, 1993. http://catalogue.bnf.fr/ark:/12148/cb355989277.
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Haber, Judith Deborah. "Pastoral and the poetics of self-contradiction : Theocritus to Marvell /." Cambridge [GB] : Cambridge university press, 1994. http://catalogue.bnf.fr/ark:/12148/cb370361460.
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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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Ankori, Gannit. "Imaging her selves Frida Kahlo's poetics of identity and fragmentation /." Westport, Conn. : Greenwood Press, 2002. http://catalogue.bnf.fr/ark:/12148/cb39955193h.
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Garay, Christopher. "Infinite Hallways: “Parabola Heretica” and Other Journeys." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407839/.
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This creative thesis collects five fictional stories, as well as a critical preface entitled “Fractals and the Gestalt: the Hybridization of Genre.” The critical preface discusses genre as a literary element and explores techniques for effective genre hybridization. The stories range from psychological fiction to science fiction and fantasy fiction. Each story also employs elements from other genres as well. These stories collectively explore the concept of the other and themes of connection and ostracization.
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Reents, Friederike. ""Ein Schauern in den Hirnen" Gottfried Benns "Garten von Arles" als Paradigma der Moderne." Göttingen Wallstein-Verl, 2007. http://d-nb.info/991680421/04.
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Griffiths, Jane. "John Skelton and poetic authority : defining the liberty to speak /." Oxford : Clarendon press, 2006. http://catalogue.bnf.fr/ark:/12148/cb401313699.
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Santiesteban, Vicky Lee. "The Woman in the Box is Smiling." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278120/.
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The Woman in the Box is Smiling is a collection of poems, prose poems, short-short stories, and short stories. The introduction is a personal essay which discusses form as a device used to gain control over subject matter.
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Guenther, Beatrice Martina. "The poetics of death : the short prose of Kleist and Balzac /." Albany (N. Y.) : State university of New York press, 1996. http://catalogue.bnf.fr/ark:/12148/cb37622445b.
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