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Vaughn, Wade M. "Poetry and Power: The Intersection of Poetry and Transformational Leadership." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/603.
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Poetry and Power: The Intersection of Poetry and Transformational Leadership uses literary analysis to show how poetry is an unexplored form of transformational leadership. The paper analyzes the essays and poems of Emerson, Shelley, Sidney, Plato, Carlyle, Whitman, Hugo, Kipling, Henley, and McKay, comparing them against the rhetoric of transformational leaders such as King, Kennedy, and Gandhi. Special attention is paid to how poetry embodies the four pillars of transformational leadership – idealized influence, inspirational motivation, individualized consideration, and intellectual stimulation.
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Sung, Ho Yeon. "A Comparative Study of Shao Xunmei's Poetry." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392984862.
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Lagapa, Jason S. "Inarticulate prayers: Irony and religion in late twentieth-century poetry." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280295.
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Inarticulate Prayers: Irony and Religion in Late Twentieth-Century Poetry examines irony and its implications for religious belief within texts ranging from the New York School Poets to the Language Poets and, in Caribbean literature, within the poems of Derek Walcott and Kamau Brathwaite. Taking Jacques Derrida's distinction between deconstruction and negative theology as a point of departure, I argue that contemporary poets employ ironic language to articulate an ambivalent, and skeptical, system of belief. In "How to Avoid Speaking: Denials," Derrida contrasts his theory of differance--as a fundamentally negative and critical mode of inquiry--with negative theology, which ultimately affirms God's being after a process of negation. My study asserts that contemporary poets, in accord with principles of negative theology, engage in inarticulate, self-canceling and negative utterances that nevertheless affirm the possibility of belief and enlightenment. By postulating the affinity between contemporary poets and the apophatic tradition, I explain how the work of these poets, despite often being dismissed as arid exercises in poststructuralist thought, productively draws on linguistic theories and also advances beyond the "negativity" of such theories. Moreover, as it intervenes in recent debates over the absence of a spiritual dimension to contemporary poetry, my dissertation opens new perspectives through which to theorize postmodern literature. Demonstrating that experiments in language and form are driven by an ironic stance towards belief, authorship and literary tradition, Inarticulate Prayers ultimately redefines contemporary lyric and narrative poetry and asserts negation, inarticulateness, and contradiction as determining characteristics of postmodern writing.
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Awwad, Abd al-Hussein M. "The theoretical bases of applied criticism of modern Arabic poetry : a comparative study." Thesis, University of Exeter, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.280753.
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Bliman, Eric. "By Underground Light." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1342715946.
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Stratton, Connor. "Hybrid rhythms, antithetical echoes, and autopoiesis: intersections between sound, self, and nation in the poetry of Yeats." Oberlin College Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1368284992.
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Horne, Nicholas Lawrence. "Galilean turbulence : disruption and the bible in the poetry of W.B.Yeats /." Connect to thesis, 2003. http://eprints.unimelb.edu.au/archive/00001473.
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Rao, T. Nageswara. "Directions of Canadian modernism : a comparative study of the poetry of F.R. Scott and A.J.M. Smith." Thesis, University of Strathclyde, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304912.
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Curtis, Lauren. "On with the Dance! Imagining the Chorus in Augustan Poetry." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10991.
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This dissertation investigates how Augustan poetry imagines, redefines and reconfigures the idea of the chorus. It argues that the chorus, a quintessential marker of Greek culture, was translated and transformed into a peculiarly Roman phenomenon whereby poets invented their relationship with an imagined past and implicated it in the present. Augustan poets, I suggest, created a sustained and intensely intertextual choral poetics that played into contemporary poetic debates about the power of writing versus song and the complexity of responding to performance culture through multiple layers of written tradition. Focusing in particular on Virgil’s Aeneid, Propertius’ Elegies and Horace’s Odes, the dissertation uses a series of case studies to trace the role played by scenes of embedded choral song and dance in Augustan poetics. The scene is set by comparing how a range of texts respond differently to a single fundamental aspect of Greek choral culture—the figure of the chorus leader—and by establishing Catullus as an important predecessor to Augustan choral discourse. The dissertation then turns to explore how choral language and imagery become involved in some of the central issues of Augustan poetry: Latin love poetry’s construction of female desirability and male anxiety, the creation of poetic authority in Augustan lyric and elegy, and the search for the origins of Roman ritual in Virgil’s Aeneid. Finally, these embedded scenes are juxtaposed with Horace’s Carmen Saeculare, a text composed, remarkably, for choral performance on the Roman civic stage, which is shown to activate the choral metaphor that had been created by the Latin literary imagination. By demonstrating Augustan poetry’s engagement with this aspect of Greek performance culture, the study sheds new light on the relationship between Greek and Roman poetry, shifting the focus from the reinvention of Greek genres and the study of particular sites of allusion towards an understanding of the complex dynamics of reception and reconfiguration at work in these poets’ reappropriation of both a literary and cultural idea.<br>The Classics
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Rose, Adrienne Kristin Ho. "The perfect translation (once more / with feeling)." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/6491.
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This dissertation is a study of experimental retranslations of ancient Greek, Latin, and Classical Chinese lyric poetry by contemporary Anglophone poets. It is a contribution to the field of Translation Studies and the developing study and practice of Retranslation. The emerging field of Translation Studies has only begun to consider critically the phenomenon of retranslation, but these existing studies address retranslations of ancient Classical texts in passing, and only as far as to consider their role in canon formation, re-animating an older retranslation’s outdated language, correcting a previous version’s textual errors, and replacing an old version with a superior one. Studies of the useful contributions that experimental retranslations of Classical texts offer for re-evaluating the ancient originals have been altogether absent. A cross-cultural study such as my own acknowledges the recent surge in interest in Western Classics from Chinese readers and the globalization of Greco-Roman Classics as evidenced by efforts to translate the corpora of Vergil and Ovid into Chinese for the first time.
My dissertation focuses on the 85 project’s experimental retranslations of Tang dynasty (618–907 CE) poetry by Wang Wei 王維 (699–759 CE), Li Bai 李白 (701–762 CE), and Du Fu 杜甫 (712–770 CE), Brandon Brown’s retranslations of poems 85 and 99 by Republican Roman poet Catullus (85–54 BCE), and Anne Carson’s “A Fragment of Ibykos Translated Six Ways” (5th c. BCE). My chapters each perform close readings and textual analysis, identify the unconventional retranslation strategies at work, and demonstrate how these strategies retain some core gestures of the original poem in retranslation. I project a future direction of experimental retranslation practice in a rapidly changing field, and a re-evaluation of how readers and writers might think about the possibilities in retranslating ancient Classical texts.
I propose that these experimental retranslations offer the contemporary reader new ways of connecting with and appreciating the original text by expanding conventional expectations of what is traditionally acceptable in the practice of translation. Traditional Classical translation strategies favour focusing on a poem’s content and subject matter, usually including some representation of meter and form in a word-for-word and sense-for-sense production. The experimental retranslations I address in my study retranslate something other than the words and sense, going so far as to bring into English such elements as the vertical reading orientation of Classical Chinese poetry and a poem’s structural, rhetorical features, not its words or subject matter. Ultimately, this study shows how contemporary readers can be surprised by antiquity via fresh retranslations, and calls for collaboration among translators, creative writers, and academic scholars.
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Moudry, Nick. "A Foreign Mirror: Intertexts with Surrealism in Twentieth-Century U. S. Poetries." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/202600.
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English<br>Ph.D.<br>In the latter half of the twentieth-century, fewer U. S. poets translated foreign poetry than their modernist predecessors. The scope of their translation projects correspondingly narrowed. Gone, for example, were projects like Ezra Pound's reaching back to thirteenth-century Italy to see how U. S. poets could push forward. Instead, translations of European and Latin American modernism prevailed. Often, multiple translations of the same author were produced by different translators at the expense of presenting a more well-rounded vision of national literatures. Of these translations, a surprisingly large number were of poets who were either loosely or explicitly connected to surrealism as a literary movement. This dissertation locates this explosion of interest in surrealism as an attraction to the surrealist emphasis on reconciling binaries. This emphasis allows American poets a convenient frame through which to confront the difficult questions of place and nation that arise as the U. S. position in the field of world literature shifts from periphery to core. Previous researchers have traced the history of surrealism's early reception in the United States, but these studies tend to not only focus on the movement's influence on American art, but also stop shortly after surrealist expatriates returned to Europe following WWII. This dissertation extends these approaches both by bringing the conversation up to the present and by examining the key role that translation and other forms of rewriting play in mediating the relationship between surrealism and American audiences. As surrealism enters the U. S. literary system, the transformed product is often not what one might expect. U. S. rewritings of surrealist literature are primarily carried out by poets and critics whose fundamental interest in the movement lies in finding a foreign mirror for their own aesthetic or ideological preoccupations. This in turn provokes the development of a strand of surrealist-influenced writing whose aims and goals are vastly different from those of the movement's founders.<br>Temple University--Theses
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Ahmad, M. "A comparative study of English and Persian mystical poetry : With particular reference to Vaughan, Rumi and Hafiz." Thesis, University of Sussex, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372701.
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Schwakopf, Nadine. "Poetry Unbound| Sounding the Language of Materiality in the Works of Man Ray, Henri Chopin and Gerhard Ruhm -- A Reading through Wittgenstein, Benjamin, Merleau-Ponty and Kittler." Thesis, Yale University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10783465.
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<p> This dissertation is meant to be the scene of an experiment. It is meant to be a scene of observation and auscultation striving to fathom the work of <i>poiesis</i> as it manifests itself in select pieces of experimental poetry created by artists and writers of the 20<sup>th</sup>-century avant-gardes. Our study notably poses the question of how <i>poiesis</i> draws on, and seeks to incorporate the experience of sensible things, examining also how this accentuation of perception in the making of a poem feeds into, viz. falls in line with the accentuation of the poem's sensible thing-ness. We will investigate how the abovementioned artists undertake to "make sense" of their experience of the things of the life-world, namely by grounding the signifying of their poetry in the mattering of <i>poietic</i> matter. We will investigate how their poems come to produce sense qua their mere being sensible, i.e. qua their being sensible as visual and/or aural matter that matters to us by virtue of its very visual and/or aural phenomenality.</p><p> As we will argue, with this emphasis on the production of a sensible presence, these poetic experiments not only establish the primacy of perception, but – more important – they also prove to loosen, and oftentimes even cut the close ties that <i>poiesis</i> is commonly considered to have with the semiotic order. Thus, instead of fabricating a communicational language, the experiment called <i>poiesis</i> giving rise to these works is in the first place destined to create the poem as a material thing. We will show that, as such a material thing, the experimental poem interpellates the senses via a language of materiality that, for its part, translates the materiality of the things of the life-world. We will show that, in lieu of straightforwardly abiding by the laws of semioticity, the poietic language of the works we are about to encounter rather emanates from the poems' very physique; i.e., that this "physical" language forged in defiance of the semiotic order thus rather proves to be consubstantial with the mattering of the matter that gives shape to the body of the poem.</p><p> In the course of our study, we will pay particular attention to how the work of <i>poiesis</i> – as it comes to crystallize and persist in the bodiliness of the respective poem – is, namely, pregnant with the gestures and the flesh of the body that conceived it. Beginning with the surface analysis of the physiognomy of a work by Man Ray, we will then turn to delving into the depths of the poems' corporeality. Anatomizing pieces from the oeuvres of Henri Chopin and Gerhard Rühm, we will discover – step-by-step and layer-by-layer – how both the scriptural and the oral practices constituting their work are infused with the pulsating of the human body. As we will suggest, the sensing of the scriptural and aural anatomies that build the body of Chopin's and Rühm's works always involves the sensing of the displaced and disfigured human body. This turn of <i> poiesis</i> to the human senses thus allows for a sensitization of the works themselves – in the sense that they become sensible bodies whose very bodiliness embraces, re-appropriates, and exudes the materiality of the life-world.</p><p>
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Yang, Haihong. ""Hoisting one's own banner:" self-inscription in lyric poetry by three women writers of late imperial China." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/766.
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This dissertation examines the innovative subjectivity of feminine voices constructed in poetry by three women writers from seventeenth- and early nineteenth-century China: Li Yin, Wang Duanshu, and Wang Duan. Drawing primarily on their individual collections, I argue that the writers fashion poetic selves that deviate from literati representations of feminine subjectivity through the writers' intertextual dialogues with mainstream literary and cultural traditions and also their poetic exchanges with contemporary women writers. I explore specific methods employed by the three writers to create distinctive voices of their own and specify modes that distinguish the alternative feminine voices in their writings, contextualizing my reading of poems from their collected works and of mise-en-scenes in the case of exchange poetry. My close reading of the three late imperial Chinese writers' poetry reveals that subject positions in their collected works, different from those of feminine voices constructed in literati poetry, are the result of the gendered writing self seeking voices to express lived experiences, deeply felt emotions, desires, anxieties, and pleasures. These positions in turn allow the writing self to have serious intellectual exchanges with their contemporary writers, create self-definitions beyond the normative roles as prescribed by the Confucian gender system and the literati poetic tradition, and realize personal transformation in poetry.
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Yamada, Aoi. "On the 'hill of science' : a comparative study of Emily Dickinson's poetry and Mount Holyoke textbooks." Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265197.
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Huber, Marie Denise. "Bagh-e Bi-Bargi: Aspects of Time and Presence in the Poetry of Mehdi Akhavan Sales." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10965.
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Mehdi Akhavan Sales (1928-1990) is one of the most important figures in modern Persian literature. However, his poetry is little known in the West. Even in Iran, though held in high regard, his work is considered hermetic. There is no unambiguous message, no identifiable political or aesthetic doctrine. Still, his poems exert a strange, haunting power. What do they tell us, now, two decades after the poet's death? What do they mean outside their homeland? What is their voice in world literature? These are the questions my dissertation seeks to answer. Chapters on rhythm, metaphor, time and - lyrical and epic - voice aim to place Akhavan in the comparative context of the 20th century literary movements. Following the philosophical hermeneutics of, above all, Paul Ricoeur, I attempt to tease out layers of meaning and bring Akhavan's poems to life for a contemporary reader. Aspects of time and presence throughout serve to structure my argument. In parallel, time and presence are traced as motifs that weave through Akhavan's writing. Through close readings of a wide range of poems I seek to understand Akhavan's texts as crystallisations of a historical moment. However, I also argue that his poems can no longer be explained within the linear evolution of Persian literary history: in their language and imagery, they point to an elsewhere that has not yet been mapped. Akhavan avoids ideological statements and political imperatives. All the same, an ethical stance is manifest in his poetry. Form itself takes on significance. Chapter 1 examines how Ahkavan makes the human time of rhythm converge with the time of the poem. Chapter 2 explores how definitions of metaphor affect the belief in literature's potential to describe and refigure reality. Chapter 3 elucidates the processes by which time is imagined as an unattainable space. Hope and desire belong elsewhere, as does salvation. Chapter 4 treats the genres of lyric and epic as distinct configurations of time. Akhavan's love poetry is a poetry of absence, reaching out to an elusive Other, while his narrative poems adumbrate the possibility of a different, gladder history in the interstices of language.
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Petrella, Bernardo Ballesteros. "Divine assemblies in early Greek and Mesopotamian narrative poetry." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:cfd1affe-f74b-48c5-98db-aba832a7dce8.
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This thesis charts divine assembly scenes in ancient Mesopotamian narrative poetry and the early Greek hexameter corpus, and aims to contribute to a cross-cultural comparison in terms of literary systems. The recurrent scene of the divine gathering is shown to underpin the construction of small- and large-scale compositions in both the Sumero-Akkadian and early Greek traditions. Parts 1 and 2 treat each corpus in turn, reflecting a methodological concern to assess the comparanda within their own context first. Part 1 (Chapters 1-4) examines Sumerian narrative poems, and the Akkadian narratives Atra-hsīs, Anzû, Enûma eliš, Erra and Išum and the Epic of Gilgameš. Part 2 (Chapters 5-8) considers Homer's Iliad, the Odyssey, the Homeric Hymns and Hesiod's Theogony. The comparative approaches in Part 3 are developed in two chapters (9-10). Chapter 9 offers a detailed comparison of this typical scene's poetic morphology and compositional purpose. Relevant techniques and effects, a function of the aural reception of literature, are shown to overlap to a considerable degree. Although the Greeks are unlikely to have taken over the feature from the Near East, it is suggested that the Greek divine assembly is not to be detached form a Near Eastern context. Because the shared elements are profoundly embedded in the Greek orally-derived poetic tradition, it is possible to envisage a long-term process of oral contact and communication fostered by common structures. Chapter 10 turns to a comparison of the literary pantheon: a focus on the organisation of divine prerogatives and the chief god figures illuminates culture-specific differences which can be related to historical socio-political conditions. Thus, this thesis seeks to enhance our understanding of the representation of the gods in Mesopotamian poetry and early Greek epic, and develops a systemic approach to questions of transmission and cultural appreciation.
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Pate, Spencer Cawein. "Poetic Justice: Rediscovering the Life and Work of Madison Cawein." Miami University Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1301406828.
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Morgan, Peter Kerry. "Impersonality and the extinction of self : a comparative analysis of the poetry of Alun Lewis and Keith Douglas." Thesis, Cardiff University, 2015. http://orca.cf.ac.uk/69065/.
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This thesis, comparative in method, examines a wide range of the poetry of Keith Douglas and Alun Lewis, and some of their prose writings. As Second World War poets, both sought a poetic register that voiced their testimony to changed realities, both internal and external. Degrees of commonality are traced between Douglas’s dominant impulse for ‘impersonality’ and Lewis’s increasing stylistic objectivity, alongside investigation of their shared underlying sense of loss, and of complicity as agents of war, even when their poetic voice is at its most impersonal. Diverse critical viewpoints are addressed, along with several psychoanalytical theories and relevant biographical commentary. Following an Introduction and Review of the Critical Field, each chapter is structured as a bipartite comparison, focusing first on Douglas, then on Lewis. Chapter 1 investigates Douglas’s impersonality as a controlled, ambivalently detached poetic register which, in its undertow and perceptual shifts, reveals the speaker’s submersed engagement and ethical complicity. Lewis’s poetry is seen to reveal a related impulse for increasingly subordinating the subjective voice in evocations of the painfully harsh realities he encountered. Chapter 2 explores the writers’ dialectical struggles to resolve or extinguish self-division, focusing particularly upon Douglas’s ‘bête noire’ and Lewis’s ‘enmity within’, configurations analysed as paradoxically creative/destructive ingredients of the poetic impulse. Chapter 3 then examines the poets’ epistemological and ontological preoccupations with death, ‘darkness’ and ‘being’, and their relevance to what is here termed ‘the extinction of Self’. Chapter 4 extends this enquiry to examine the poets’ representations of wartime separation and geographical dislocation as manifestations of ‘the exilic self’ and a mutual desire to extinguish internal crises. The conclusion drawn is that their shared, dual axis of poetic engagement and detachment reveals a deeply embedded, common impulse to voice and escape their burdens, both inherently personal, and as complicit agents of war.
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Zhang, Wenyu. "Poems easily written in a hard life." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/7054.
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Poems Easily Written in a Hard Life is an English-language translation of Yun Dongju’s 40 poems. This work of literary translation is proceeded by a translator’s preface which seeks to situate the work in its specific social and linguistic context and to render the translator’s work visible.
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Nash, Patricia Helena. "A body, a notion: translating Karla Reimert's 'Picnic with black bees'." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/6229.
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Twomey, Leslie Karen. "The immaculate conception in Castilian and Catalan poetry of the fifteenth century : a comparative thematic study." Thesis, University of Hull, 1995. http://hydra.hull.ac.uk/resources/hull:3458.
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Ranković, Slavica. "The distributed author and the poetics of complexity : a comparative study of the sagas of Icelanders and Serbian epic poetry." Thesis, University of Nottingham, 2006. http://eprints.nottingham.ac.uk/12098/.
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The thesis brings together Íslendingasögur and srpske junačke pesme, two historically and culturally unrelated heroic literatures, literatures that had, nevertheless, converged upon a similar kind of realism. This feature in which they diverge from the earlier European epics - Beowulf, Nibelungenlied, La Chanson de Roland, is the focal point of this study. Rather than examining it solely in terms of verisimilitude and historicism with which it is commonly associated, I am approaching it as an emergent feature (emergent realism) of the non-linear, evolutionary dynamics of their production (i.e. their networked, negotiated authorship), the dynamics I call the distributed author. Although all traditional narratives develop in accordance with this dynamics, their non-linearity is often compromised by Bakhtinian 'centripetal forces' (e.g. centralised state, Church) with an effect of directedness akin to the authorial agency of an individual. The peculiar weakness of such forces in the milieus in which the sagas/Serbian epics grew, encouraged their distributed nature. As a result, they come across as indexes of their own coming into being, preserving, meshing and contrasting the old and the new, the general and the more idiosyncratic perspectives on past events and characters. In so doing they fail to arouse in the recipient the feeling of being addressed and possibly manipulated by an all encompassing organising authority. As a consequence, they also impress as believable. While chapters one and two of this study deal with theoretical and aesthetic implications of the two literatures' distributed authorship and their emergent realism, chapters three and four illustrate the ways in which these are manifested in the rich texture of the past and the complex make-up of the characters. The final chapter summarises major points of the thesis and suggests the poetics of complexity as a term particularly suitable to encapsulate the two literatures' common creative principles.
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Wilson, Richelle Jolene. "Memory as Ecology in the Poetry of Tomas Tranströmer." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3735.
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The purpose of this study is to explore how memory functions ecologically in the poetry of Tomas Tranströmer. The term ecology is useful because of its connotative associations with the natural world as well as its broader definition of being a network of relationships as they function within and relate to their environment. Throughout his oeuvre, Tranströmer positions memory as being an external presence with which he interacts primarily because he honors it as a living being and he feels a poetic responsibility to it. As such, he grapples with the challenges of representation, particularly the limitations of language. Ultimately, he employs an ecopoetic strategy in honoring his duty to memory and creating poems that are themselves ecological milieux in which such memories can live on.
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Rassekh, Chohre. "Mystical poetry of Jalaloddin Rumi and Jacopone da Todi : A comparison." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/28268.
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"Mystical poetry of Jalaloddin Rumi and Jacopone da Todi: A comparison" attempts to analyze and prove the possibility of a comparison of mystical poetry of the Eastern and Western traditions.
The consciousness of the One (which is ineffable) is the goal of the mystical experience. This experience finds its expression in the following ways: 1- By affirming its ineffability through the insufficiency of words (the negative way does not exist in complete separation from the affirmative). 2- By relying on imagery and symbols drawn from the phenomenal world and translating abstract concepts into terms that men can understand.
The purpose of this dissertation is to prove that Jacopone da Todi's and Jalallodin Rumi's use of poetic imagery from physical reality is the best expression of their mystical quest. Poetry for Jacopone and Rumi, through metaphorical presence, becomes a vehicle toward Reality.
The introduction investigates the historical setting and Rumi's and Jacopone's lives in relation to the cultural environment of the time.
The first chapter discusses and defines the concept of mysticism and emphasizes the importance of two fundamental ideas in every type of mysticism: the ideas of Love and Transformation.
The second chapter discusses the concept of love as used by Jacopone and Rumi in their poetry. Love is seen as a gift; man in his weakness would never be able to attract it or reject. Love is also seen as frenzy and passion, hence the use of images from even the most intimate sphere of life and from sensual love. The chapter, through close analysis of different texts, will also explore the relation between earthly love and spiritual love.
The third chapter demonstrates how the concept of transformation, essential to spiritual growth, is developed in the poetry of Jacopone and Rumi through the use of imagery. The symbols of the Cross for Jacopone and of Fire for Rumi are used as examples of purification and growth through sacrifice: "What is poor brushwood when it falls into the fire? Is not the brushwood transformed into a spark by the fire"?
The fourth chapter presents a thesis on the language of mysticism or the "mystical lexicon" found in the two poets analyzed despite the apparent lack of any interdependence between them or dependence by them on a common source.<br>Arts, Faculty of<br>English, Department of<br>Graduate
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Al, Shammari Adhraa. "'History engraved on his shoulder' : a comparative study of the influence of British First World War poetry on post-1980 Iraqi war poetry." Thesis, University of Plymouth, 2016. http://hdl.handle.net/10026.1/5475.
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This study aims to compare British war poetry of the First World War with Iraqi poetry from the mid-20th century with special reference to Iraqi war poetry of the 1980’s Iraq-Iran War and the period that followed it. It will also investigate the influence of the designated British war poetry on the chosen body of Iraqi poetry. Through the comparison of sample poems the study presents, firstly, the direct influence of the British poetry of the Great War and its translation which formed the seeds of a more radical movement in Iraqi poetry during the 1980’s Iran/Iraq War and the period that followed it. The study also presents a comparison of the works of British and Iraqi civilian poets during and after the war time and their contribution in setting the ground for the younger generation to create more subversive poetic forms with special reference to women as influential characters and inspirations in their works. The moment of the 1980’s war marks the break with the clear direct influence of British war poetry and starts another phase of the comparison of a universal bond of similar reactions, conscious and unconscious expression reflecting the lives of the combatant group of men first and then of poets sharing a devastating war reality. The study reveals a remarkable, more radical change of poetic forms in Iraqi poetry between the time of the first seeds planted by the influence of translations from European poetry until the time of the Iran/Iraq war and the Gulf War in 1991 and the rise of the new nihilistic generation of the 1990s subverting war, politics and cultural life through their innovation in prose poem writing and its significance as an alternative space for their political and social subversion.
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Gilbert, Matthew. "Fir-Flower Petals on a Wet Black Bough: Constructing New Poetry through Asian Aesthetics in Early Modernist Poets." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3588.
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Critics often credit Ezra Pound and his Imagist movement for the development of American poetics. Pound’s interest in international arts and minimalist aesthetics of cross-cultural poetry gained the attention of prominent writers throughout Modernist and Post-Modern periods. From writers like Wallace Stevens and Gertrude Stein to later poets like Jack Kerouac and Gary Snyder, image and precise language has shaped American literature. Few critics have praised Eastern cultures or the Imagist poets who adopted an East-Western form of poetics: Amy Lowell and William Carlos Williams. Studying traditional Eastern painting and short-form poetry and interactions with personal connections to the East, Lowell and Williams adapt then progress aesthetic fusions Pound began and abandoned through his interpretation of Eastern art. Like Pound, Lowell and Williams illustrate a mix of form, free-verse language, and modernized poetics to not only imitate Eastern art but to create poetics of international discourse which shape American Modernism.
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Lyons, Alice. "All Country Roads Lead to Rome: Idealization of the Countryside in Augustan Poetry and American Country Music." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/102.
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This paper examines similarities between imagery of the countryside and the “country life” in both the poetry of Augustan Rome and contemporary American country music. It analyzes the themes of agriculture, poverty, family, and piety, and how they are used in both sets of sources to create an idealized countryside. This ideal, when contrasted with negative portrayals of urban life and non-idealized rural life, endorses an ideology that is opposed to wealth and that emphasizes the security and stability of the idyllic countryside. This ideology common to both may stem from the historical contexts of these two eras, revealing that Augustan Rome and modern America have unexpected similarities.
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Lima, Kelly Mendes. "Rui Knopfli e Manuel Alegre: de exílios e insílios, a poesia." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-29062017-094209/.
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A tese apresenta um estudo comparativo entre a obra poética do moçambicano Rui Knopfli (1932-1997) e a do português Manuel Alegre (1936-) a partir do conceito de \"escrita de si\" (M. Foucault, 1983). Acompanha e reflete sobre o percurso literário de ambos os autores, estabelecendo relações com suas experiências de conhecimento público e suas concepções quanto à literatura, política e pátria. Em suma, os sujeitos poéticos de Knopfli e Alegre, tais quais aqueles sujeitos históricos, manifestam-se como descentrados em relação a quaisquer discursos \"oficiais\", seja o mais restrito das Academias e da Crítica Literária, seja o mais amplo do Estado Novo português - e mesmo o de grupos políticos contrários a este, incluindo, no caso do escritor africano, o da Frente de Libertação de Moçambique (Frelimo). São, portanto, vozes \"deslocadas\", de um eu \"insilado\". Todavia, tal sentido não se restringe ao figurativo: ambos os literatos, em sua realidade objetiva, ainda que em momentos alternados, foram marcados pela saída, traumática e por motivos políticos, de seu local original, de seu espaço, de sua pátria; conheceram de fato o exílio físico e, igualmente, transformaram tal experiência em matéria poética. Ao longo de seus percursos, sempre sob a sina de deslocados ou descentrados, a poesia de ambos revela-se igualmente ativa e repleta de caminhos e descaminhos bastante próximos - e, se a História e o mundo sensível vão ganhando ares de desilusão para aqueles homens, o discurso poético mostra-se como mais do que um meio para se denunciarem esteticamente a ditadura e a colonização portuguesas e a dor e o sofrimento dos envolvidos nas guerras coloniais/independentistas. A Poesia é também o espaço, processo e resultado para e de uma reflexão por parte do ser, constituindo essa sua discursivização como uma \"escrita de si\". Ademais, a Poesia, que por fim se torna a Pátria possível, ultrapassa os limites político-geográficos do território onde se encontram ou gostariam de se encontrar e, até mesmo e acima de tudo, os da morte, o exílio derradeiro da vida, sempre à espreita e que se (pré-)sente cada vez mais com a passagem do tempo.<br>The thesis presents a comparative study between the poetic work of the Mozambican Rui Knopfli (1932-1997) and that one of the Portuguese Manuel Alegre (1936-) from the concept of \"self writing\" (M. Foucault, 1983). It accompanies and reflects on the literary course of both authors, establishing relations with their experiences of public knowledge and their conceptions regarding literature, politics and homeland. In short, their poetic subjects, just like those historical subjects, are decentered in relation to any \"official\" discourse, whether the narrowest of the Academies and the Literary Criticism, or the broadest of the Portuguese Estado Novo and even that one of political groups opposed to it, including, in the case of the African writer, the one coming from the Frente de Libertação de Moçambique (Frelimo). They are therefore \"displaced\" voices, from an I in inner exile. However, this sense is not restricted to the figurative: both in their objective reality, even in alternated moments, were marked by the exit, traumatic and for political reasons, from their original place, from their space, from their homeland; they did indeed know the physical exile and, likewise, transformed this experience into poetic matter. Throughout their journeys, always under the sign of displaced or decentralized, the poetry of both is equally active and full of paths and misfortunes quite close and if History and the sensitive world are gaining airs of disillusionment for those men, the poetic discourse shows that it can be beyond the means to denounce aesthetically the Portuguese dictatorship and colonization and the pain and suffering of those involved in the colonial / independence wars. Poetry is also the space, process and result for and of a reflection on the part of the being, constituting this discursivization like a \"self writing\". In addition, Poetry, which finally becomes the possible homeland, goes beyond the political-geographical limits of the territory where they are or would like to be and even and above all the limits of death, the ultimate exile of life, always on the look-out and that can be felt more and more as time goes by.
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Kouklanakis, Andrea. "Satire, Blame Poetics, and the Suitors in the Homeric Odyssey." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11108.
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Lima, Cesar Augusto Garcia. "Modos de ser poeta brasileiro nos anos 1920: uma leitura do diálogo epistolar de Carlos & Mário." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4750.
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Esta tese tem como proposta uma leitura de aspiração ensaística da correspondência entre os escritores Carlos Drummond de Andrade e Mário de Andrade durante o Modernismo, entre 1924 e 1929, com destaque para a afirmação da identidade do poeta brasileiro em sua relação com o nacionalismo. A correspondência, abordada como diálogo epistolar, é analisada cronologicamente, relacionando os temas propostos à produção artística dos escritores. A troca de opinião sobre originais dos próprios autores é um dos focos da análise do texto, em especial as cartas que envolvem a gênese do livro Alguma poesia, publicado por Carlos Drummond de Andrade em 1930. As cartas têm como antecedente o cuidado de si, oriundo da cultura greco-romana, exercido pelos antigos filósofos como um exercício espiritual e de reflexão sobre o cotidiano. Desse modo, a partir do convite epistolar de devotar-se ao Brasil feito por Mário, Carlos elabora poemas como respostas, em um diálogo que ganha permanência poética<br>This dissertation presents a reading of the correspondence between the writers Carlos Drummond de Andrade and Mario de Andrade from 1924 to 1929, during the Modernism period, highlighting the identity assertion from the Brazilian poet in relation to nationalism. The mentioned correspondence is approached as an epistolary dialogue and it is chronologically analised relating the topics of literary works of both writers. The exchange of opinions between the writers about their own original texts is one of the focus of the reading presented here, including commentaries about Alguma poesia, published in 1930 by Carlos Drummond de Andrade. The letters are associated by the author of this text to the idea of "the care of the self", proposed by Michel Foucault. The writers epistolary dialogue is determined and associated to their literary production especially considering the poetic work. Therefore from the epistolary invitation done by Mario to devote himself to Brazil, Carlos elaborated poems as answers. These answers remain in his poetry work
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Dunkle, Iris Jamahl. "Shaking the Burning Birch Tree: Amy Lowell’s Sapphic Modernism." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1259612760.
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Hunhoff, Elizete Dall\' Comune. "O tempo: fator de identidade nas obras de Florbela Espanca e de Cecília Meireles." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-09012009-163330/.
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Neste trabalho, cotejamos diferentes concepções contextuais relativas à visão de mundo, à busca de identidade, à efemeridade e à transitoriedade do ser humano, articuladas na linguagem poética de Florbela Espanca e Cecília Meireles, muitas vezes em tempos da memória e do sonho. Selecionou-se, da obra de Florbela Espanca, os sonetos retirados dos seus três primeiros livros, escolhidos pela própria autora, sendo os dois primeiros publicados em vida: Livro de Mágoas (1919); Livro de Sóror Saudade (1923) e Charneca em Flor (1931), póstumo. Os textos de Cecília Meireles foram retirados de suas obras poéticas, reunidas, principalmente, em Cecília Meireles - Poesia Completa, obra organizada por Antonio Carlos Cecchin. Esta pesquisa ressalta um rico manancial teóricocrítico na tentativa de resposta aos questionamentos sobre uma possível compreensão dos universos complexos do transitório e do efêmero marcados no tempo, como provável recurso comparativo entre as obras de Florbela Espanca e Cecília Meireles, pois, no paralelo traçado, constata-se a existência de uma ponte entre as imagens construídas e organizadas em torno do fluir do tempo, da solidão do homem, do caos existencial, e do universo de sonhos. O intuito desta tese é, portanto, desenvolver um estudo sobre o tempo, a transitoriedade e a efemeridade nos poemas de Florbela Espanca e Cecília Meireles que apontam para um novo ponto de apoio que a modernidade, face a um descentramento generalizado, empenha-se em descobrir.<br>On this research we contrast the different context conceptions related to the world view, the identity quest, the transitoriness, the ephemerality of the human being articulated in the poetical language of Florbela Espanca and Cecília Meireles, most of time in memory and dream time. It was selected from the Florbela Espanca work, the sonnets removed from her three first books, which poems were chosen by the writer herself, and the two first were published when she was still alive: Livro de Mágoas (1919); Livro de Sóror Saudade (1923) and Charneca em Flor (1931), posthumous. Cecília Meireles texts were taken away from her poetical works which are congregated, mainly in Cecília Meireles Poesia Completa, organised by Antonio Carlos Cecchin. The study point to the rich theoretician-critical source in the reply attempt to the questionings on a possible complex universe comprehension of the transitory and the ephemeral marked in the period as a probably comparative resource between the works of Florbela Espanca and Cecília Meireles, therefore in the traced parallel, we noticed the existence of bridge between the images constructed and organised around the flow of the time, of the man solitude, the existential chaos, and of the dreamful universe. Therefore, this thesis intention is to develop a study about the time, the transitoriness and the ephemerality in Florbela Spanca and Cecília Meireles that point to a new support juncture which the modernity, faced to a generalized decentralisation committing to find out
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Carpita, Chiara. "Rebellion to the Gods : dialogue and conflict with tradition in the poetry of Amelia Rosselli from 'Primi Scritti' to 'Variazioni belliche'." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:ae1a9f6e-4503-4ea1-9a8f-83344a818077.
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This thesis focuses on Intertexuality in the Poetry of Amelia Rosselli from Primi Scritti (1952-1963) to Variazioni belliche (1959-1961). The research is based on the annotated books of the author's personal library kept in the Fondo Rosselli of Viterbo and of her personal documents, letters and original typescripts of her works held in the Centro Manoscritti Autori Moderni e Contemporanei of the University of Pavia. Rosselli's annotations are studied for the first time and they have proved to be essential for the interpretation of her poetry. Rosselli's aspiration to Gesamtskunstwerk is reflected in the composition of her library which ranges from musicology, quantum physics, Gestalt psychology, history of art and philosophy. I explored the influence of these disciplines in her work adopting an interdisciplinary approach. In particular I concentrate on the influence that her studies in etnomusicology have had on the style of her poetry. The theoretical framework of Julia Kristeva and Gian Biagio Conte enable me to draw two main intertexual strategies in Rosselli's poetry: the intertexuality of harmonics, and parody. Rosselli's use of literary allusion is a very original one: it is based on her work as a musicologist, which she articulates in the essay La serie degli armonici. In this essay Rosselli studied natural harmonics in music. Allusions develop into an intertextual fugue creating a mîse en abyme effect. Another type of allusion is the parody in which the poetic I acting as the fool challenges the literary fathers of Tradition in order to find her own space in the canon. The study of intertextuality has also some important consequences on a literary hystoriographic perspective: I recognized in her poetry what Detloff called 'the persistence of Modernism'. Her work like the one of Anglo-American modernists is characterized by a form of resilience to trauma and loss. Like the literature of survivors, Rosselli's deals with the expression of inexpressible, the fragmentation of the poetic I, and the will of re-writing her own story to overcome trauma. The ultimate result is a political and ethical cry for social justice, symphathy and peace.
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Stypinski, Megan Michele. "“'Reinventing the Gods': Bloomian Misprision in the Nietzschean Influence of Jim Morrison.”." Ohio Dominican University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=odu1301258607.
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McAdams, Alice. "A Poetics of Complicity: Translating Luis García Montero." Oberlin College Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1368282032.
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Grodd, Elizabeth Stafford. "The Love Poems of John Clare and John Keats: A Comparative Study." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4907.
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This study addresses lesser known works of romantic poets John Clare and John Keats--Clare's Child Harold and Keats's poems to Fanny Brawne--which I refer to as their love poems because the works are informed by intense feelings the poets had for women they loved. Although these works have been the brunt of negative criticism because Clare was considered insane at the time of the composition of Child Harold and Keats was accused of using the poems to give vent to his personal sufferings, nonetheless I argue that the love poems are significant for several reasons. They are a reflection of the poets' personal experiences and also demonstrate their remarkable and surprisingly similar creative abilities in the way they use poetry as a means of devising new strategies for dealing with the painful realities of their disturbing lives. And because I feel it is important to understand Clare's and Keats's feelings for the women they love in order to understand their poetry (since the poetry is, after all, based on real life experiences), I provide chapters describing the poets's lives and loves, as well as their poetic processes, to serve as a framework for examining the poems. In the remaining chapters, I show how the poets incorporate highly sophisticated metaphor in attempting to reconcile the apparent conflicts the speakers in their poems are experiencing between their subjective responses to, and their rational assessment of human existence. In the process, the speakers experience various states of emotional upheaval ranging from what I refer to as periods of limbo, purgatory, and paradise, and they create personal thresholds and undergo differing states of self-awareness. In the final chapter I provide a summary of how these different emotional states are metaphorically effected, and then attempt to explain the value of Clare's and Keats's poetic achievements in the poems from a current perspective.
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Divett, Andrew Brennan. "Musical Ekphrasis in the Poetry of Nicolás Guillén, Federico García Lorca, and Langston Hughes." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955012/.
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Musical ekphrasis was occurring in the twentieth century in different centers around the world, Cuba: Andalusia, Spain; and Harlem, New York, simultaneously. The writers at the heart of this movement used poetry about music as a means to celebrate the cultures of the marginalized people in their lands, los negros, los gitanos, and African-Americans. The purpose of this study is to define musical ekphrasis and identify it in the works of Nicolás Guillén, Federico García Lorca, and Langston Hughes. Also explored are the common characteristics in ekphrastic poetry by the three poets and the common themes found in their ekphrastic poetry, as well as common influences. Each author is considered in the context of his surroundings and his respective culture, and how that influenced his musical tastes as well as his writing style.
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Rodriguez, Mia U. "Medea in Victorian Women's Poetry." University of Toledo Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1355934808.
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Armstrong, Robert A. "Gleanings in French Fields: A Formal Approach to the Translation of French Poetry." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1587646850156205.
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Connolly, Thomas. "Poetics of the Unfinished: Illuminating Paul Celan's Eingedunkelt." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10452.
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This thesis aims to challenge a number of critical assumptions that have unnecessarily restricted the way we read Paul Celan's work, and poetry in general, by reading an unfinished cycle of poems called 'Eingedunkelt.' The poems were written during the Spring of 1966, when Celan was incarcerated in a psychiatric hospital in Paris, and have received little critical attention since their initial partial publication in 1968, their more extensive publication in 1991, and the exhaustive publication of the transcription of all genetic documents in 2006. The thesis consists of three chapters, the last two of which are divided into two parts. The opening chapter confronts the poems in 'Eingedunkelt' as they are now available to us as genetic documents, and engages with current theories of genetic criticism to explore new ways of reading and creating meaning within the avant-texte. Although studies of Celan's work have proliferated since his death in 1970, very few critics have been willing to look beyond the formulation of the poetics Celan defines in his 1960 Büchner prize speech 'Der Meridian.' Chapters Two and Three therefore seek to identify the presence in 'Eingedunkelt' of alternative ways of thinking about poetry that do not necessarily conform to the poetics most explicitly outlined in 1960, and that allow for the very real possibility that Celan's conception of his poetic task was often challenged and maybe even transformed. Through Celan's engagement with Stéphane Mallarmé and Jean-Paul Sartre, Chapter Two identifies the development of a poetics of suicide, according to which each poem rehearses the poet's final and greatest creative act in his or her own self-destruction. Chapter Three recognizes the existence of a counter-poetics of life through Celan's lifelong interaction with the paintings of Rembrandt van Rijn, in which the material qualities of dried oil paint, which mimic the organic qualities of human skin, offer a way to create a living, breathing, but also decaying memorial to those who died in the Shoah. This provides the platform for Celan's poetic critique of both the 1963 - 1965 Frankfurt Auschwitz Trial, and Peter Weiss's 1965 dramatization of the Trial, 'Die Ermittlung.'
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Kim, Joanne S. "Romanticism and the Poetics of Orientation." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523659373305353.
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Laffey, Seth Edward. "The Letters of Edwin Arlington Robinson: A Digital Edition (1889-1895)." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1499369594701871.
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Shimizu, Kanako. "Above and Below the Sky: Examining Representations of the Atomic Bomb in Japan and in the United States." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1601.
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This study of atomic-bomb literature on Hiroshima will be through a critical lens, largely through postcolonial theory and reader-response criticism. It will be a discussion on the social and political implications behind the popularization of certain works. The discussed texts will not necessarily be written by the Japanese or by survivors of the atomic bomb: in the first case, I will be examining authorial intent and its relation to the intended reader responses from the implied American audience to study perpetuations of propaganda after the war. This paper will also be examining the interlingual translatability of psychological and physical trauma surrounding the atomic bomb and will be exploring the capacities of language to express an emotional and often sensitive topic.
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McCallum-Bonar, Colleen Heather. "Black Ashkenaz and the Almost Promised Land: Yiddish Literature and the Harlem Renaissance." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1207704355.
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Fernandes, Mônica Luiza Socio. "Labirintos poéticos e os enigmas do tempo na poesia de Quintana: confluências com poemas de Camões e de Antônio Nobre e com pinturas de Van Gogh." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-05122007-160827/.
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O estudo da poética de Mario Quintana terá por base as investigações da Literatura Comparada e da Teoria Literária, considerando o pensamento de Wellek, Ortega y Gasset, Bloon, Bakhtin, Paz, Pound, Antonio Cândido, entre outros. A primeira e a segunda partes da pesquisa se voltam às relações da literatura com a própria literatura e com outros campos do saber que têm nas relações sociais o pano de fundo para o desenvolvimento da produção artística e da visão de mundo expressa nas criações. Na parte seguinte, a dimensão simbólica do tempo é base dos estudos tanto na poesia como na pintura. Na quarta parte, é observado o processo das influências que estimulou a produção poética de Mario Quintana. Para tanto, a temática temporal, constante preocupação da lírica, foi o eixo centralizador das aproximações entre as suas poesias e as de Camões, com enfoque na problemática do carpe diem; nesta mesma parte, com relação ao tratamento da saudade, destacase a produção de Antônio Nobre, poeta português que, assim como Quintana, resgata em sua obra o passado vivido ou sonhado. Ampliando as inter-relações entre diferentes formas de expressão há, na quinta e na última parte, interesse nas analogias entre a poesia e a pintura com foco nas retomadas que Quintana faz da obra de vários pintores, privilegiando a de Van Gogh.<br>This paper aims at the study of Mario Quintana´s poetic, based mostly on the research and investigations carried out in Comparative Literature and Literary Theory fields, taking into consideration the thoughts and ideas of authors such as, Wellek, Ortega y Gasset, Bloon, Bakhtin, Paz, Pound, Antonio Cândido, among others. The first and second parts of the present research are concerned with the relationship the literature has to do with itself and with other knowledge areas which have the social interaction as the background for the art development and the worldview expressed in the masterpieces. In the next part, time symbolic dimension is the basis for the studies in both poetry and paintings. In the fourth part, the influential processes that would have stimulated Quintana´s poetic production are observed. For such purposes, the temporal thematic, a frequent concern of Quintana\'s poetry, was crucial to look for the similarities between Quintana\'s and Camões\' creations, focusing mostly on the carpe diem problems; in this same part, concerning with the treatment given to the feeling of missing, Antonio Nobre´s writings are highlighted, because this Portuguese poet, like Quintana, used to bring his past either experienced or dreamt to his verses. In the fifth and last part, making inter-relationships between different kinds of expression, there are interests in analogies between poetries and paintings, with focus on some painters recalling undertaken by Quintana, special and mostly on Van Gogh´s ones.
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Klein, Kaitlyn Marie. "Literary Love(r)s: Recognizing the Female Outline and its implications in Roman Verse Satire." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2825.
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The existence of a metaphoric female standing in for poetic style was only plainly discussed in a paper from 1987 concerned with Roman elegiac poetry. This figure is given the title of scripta puella or written woman, since her existence depends solely on the writings of an author. These females often appear to have basis in reality; however there is insufficient evidence to allow them to cross out of the realm of fantasy. The term scripta puella in poetry refers to a perfected poetic form, one the author prefers over all others, and a human form creates the illusion of a mistress. Using this form, usually described in basic terms which create an outline of a woman, a poet easily expresses his inclination towards specific poetic styles and elements. While other scholars recognize the scripta puella in elegiac poetry, little research has been done into other genres. For this thesis, the focus is on the genre called Latin verse satire. The genre contains four recognized authors: Lucilius, Horace, Persius, and Juvenal. In order to prove her existence, each collection of satires is examined in its original language and analyzed with heavy emphasis on recognizing key phrases and attributes of scriptae puellae. Her appearances can be difficult to determine, as some examples will show, yet the existence of scriptae puellae enrich modern understanding of ancient texts. In addition to the four authors, articles and books dealing with women, satire, and women in satire are consulted to aid in explanation and support. With this body of proof, scriptae puellae are shown to exist within the Latin verse satirists' texts; they act as a link between the four authors and as a link to Greek poetry, which has been considered a possible predecessor for satire. This knowledge allows for a better explanation of satire as a genre and opens up the possibilities for further study in other genres which contain women of various forms.
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Galharte, Julio Augusto Xavier. "Despalavras de efeito: os silêncios na obra de Manoel de Barros." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-11122007-093603/.
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Esta pesquisa busca os significados dos silêncios na obra de Manoel de Barros. Eles são observados, basicamente, a partir dos sentidos da visão e da escuta. Os mutismos do autor são analisados dentro da palavra e fora dela: nas entrelinhas, nas relações com outros autores, como Anton Tchékhov, Clarice Lispector e Samuel Beckett, por exemplo. Diálogos entre os silêncios de Barros e dos cineastas Luis Buñuel, Akira Kurosawa e Federico Fellini são, também, observados.<br>This research seeks the meanings of the silences in the works of Manoel de Barros. They are observed, basically, from the senses of the vision and of the listening. The mutisms of the author are analysed inside the word and outside it: in the implied senses and in the relations with other writers, such as Anton Tchekhov and James Joyce, for example. Dialogues between the silences of Barros and of the filmmakers Luis Bunuel, Akira Kurosawa and Federico Fellini are observed too.
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Moraes, Fabrício Tavares de. "Arando a linguagem: uma leitura comparada entre as poéticas de Salgado Maranhão e Seamus Heaney." Universidade Federal de Juiz de Fora, 2013. https://repositorio.ufjf.br/jspui/handle/ufjf/926.
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Previous issue date: 2013-03-13<br>CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>A presente dissertação busca traçar uma análise comparada entre a obra poética do poeta irlandês Seamus Heaney e a do brasileiro Salgado Maranhão no que tange à tensão indissolúvel entre a intuição e razão que estão no âmago do ato poético, especialmente durante o processo de composição. Tomando como pressupostos os conceitos de apolíneo e dionisíaco do filósofo alemão Friedrich Nietzsche, desenvolvidos na obra O Nascimento da Tragédia (1872), o presente trabalho busca justamente apontar esses elementos antitéticos na gênese da poesia, bem como as posturas poéticas neles baseadas (chamadas doravante de “poesia instintual” e “poesia cerebral”). Além disso, pretende-se compreender a forma como as obras de ambos os poetas analisados se inserem nas manifestações poéticas da contemporaneidade. Por último, partindo da simbologia da terra – ampla e constantemente abordada ao longo de todas as obras de Heaney e Salgado –, busca-se efetuar uma leitura dos possíveis desdobramentos literários, sociais, culturais e históricos de tal metáfora.<br>This dissertation aims to draw a comparative analysis between the poetical works of the Irish poet Seamus Heaney and the Brazilian poet Salgado Maranhão, regarding the indissoluble tension between intuition and reason that is at the core of the poetic act, especially during the composition writing process. Utilizing as presupposition the concepts of the “Apollonian” and “Dionysian” coined by the German philosopher Friedrich Nietzsche, both developed in the work The Birth of Tragedy (1872), the present study attempts to pinpoint these antithetical elements that are in the genesis of poetry, as well as the poetic postures based on them (hereinafter called “instinctual poetry” and “cerebral poetry”). Furthermore, we intend to comprise the way through which the poetical works of both poets are inserted in the contemporary poetic manifestations. Lastly, basing on the symbolism of the earth/soil – wide and constantly addressed throughout the works of Heaney and Salgado – we intend to interpret the feasible literary, social, cultural and historic meanings of such metaphor.
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Iris, Manuel. ""Channel of Channels": A Comparative Study of the Poetic Works of Gonzalo Rojas, Ali Chumacero, Fernando Charry Lara, and Juan Sanchez Pelaez, and Their Interactions with the Literary Field." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1378108965.
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