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Edford, Rachel Lynn 1979. "“The Step of Iron Feet”: Formal Movements in American World War II Poetry." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11981.
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x, 237 p.We have too frequently approached American World War II poetry with assumptions about modern poetry based on readings of the influential British Great War poets, failing to distinguish between WWI and WWII and between the British and American contexts. During the Second World War, the Holocaust and the bombings of Hiroshima and Nagasaki obliterated the line many WWI poems reinforced between the soldier's battlefront and the civilian's homefront, authorizing for the first time both civilian and soldier perspectives. Conditions on the American homefront--widespread isolationist and anti-Semitic attitudes, America's late entry into the war, the bombing of Pearl Harbor, the Japanese internment, and the African American "Double V Campaign" to fight fascism overseas and racism at home--were just some of the volatile conditions poets in the US grappled with during WWII. In their poems, war shapes and threatens the identities of civilians and soldiers, women and men, African Americans and Jews, and verse form itself becomes a weapon against war's assault on identity. Charles Reznikoff, Muriel Rukeyser, Gwendolyn Brooks, and Richard Wilbur mobilize and challenge the authority of traditional poetic forms to defend the self against social, political, and physical assaults. The objective, free-verse testimony form of Reznikoff's long poem Holocaust (1975) registers his mistrust of lyric subjectivity and of the musical effects of traditional poetry. In Rukeyser's free-verse and traditional-verse forms, personal experiences and public history collide to create a unifying poetry during wartime. Brooks, like Rukeyser, posits poetry's ability to protect soldiers and civilians from war's threat to their identities. In Brooks's poems, however, only traditionally formal poems can withstand the war's destruction. Wilbur also employs conventional forms to control war's disorder. The individual speakers in his poems avoid becoming nameless war casualties by grounding themselves in military and literary history. Through a series of historically informed close readings, this dissertation illuminates a neglected period in the history of American poetry and argues that mid-century formalism challenges--not retreats from--twentieth-century atrocities.
Committee in charge: Karen Jackson Ford, Chairperson; John Gage, Member; Paul Peppis, Member; Cecilia Enjuto Rangel, Outside Member
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Cogar, Jessica L. "Pearl Anthology: Prose Poems." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1492689133782808.
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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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Michel, Christopher Joseph. "Searching Assurances." Miami University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=miami1150734392.
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Edwards, Stephanie Lorraine. ""Still House"." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703404/.
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Still House is a poetry manuscript that explores the relationship between traditional gender roles and traditional poetic forms. The poems in this collections seek to revise the role of the homemaker and interrogate whether it is okay to take comfort and pleasure in tasks that are often labeled as feminine (i.e. cooking, baking, decorating, organizing, shopping, choosing outfits) while rejecting other parts of the homemaker archetype, such as subservience to and dependence upon men. Limited gender roles, patriarchy, sexist comments, capitalism, toxic masculinity, the cis-hetero-white-male gaze, trauma, physical pain, illness—these all can make it feel like we are not fully in control and ownership of our bodies, like something is encroaching. The poems in Still House are invested in using the poetics of embodiment (a poetics centered around telling stories about the body through immersive sensory details) to reclaim the body from trauma, patriarchy, and chronic pain and illness.
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Bosch, Sánchez Lluís. "La traducció al català de poesia en llengua anglesa (1990-2010): anàlisi formal i retòrica." Doctoral thesis, Universitat de Girona, 2017. http://hdl.handle.net/10803/666592.
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This PhD dissertation attempts to describe and value the translation into Catalan of English language poetry during the period that comprises the years 1990 to 2010. It is the aim of this thesis to consider a theoretical approach regarding the study of poetry translation based on rhetoric. As far as twenty translations are studied in order to offer quite an assorted, large and diverse collection of samples that supports the fulfillment of the pursued objective. All the English language poets that belong to the corpus have mostly published their work during the twentieth and twenty-first centuries. This chronological delimitation hinders the application of a historicist methodology that would not fit in the synchronic and theoretical goals of the current dissertation. Hence, the methodology employed is comparative, descriptive and empirical. It is impossible to avoid the comparative method when studying any translated text in depth, because translation needs to confront two texts: the source text and the target text. Whereas the descriptive and empirical methods allow to reach supporting conclusions, since the thesis always departs from texts that have been previously analyzed and described. Thus, this dissertation aims at showing that translated poetry texts can be described, studied and assessed from rhetoric, a discipline that, from its origins, has been linked to grammar and poetry and, for this reason, it is based on the knowledge of the language procedure that is characteristic of literatureAquesta tesi doctoral es proposa descriure i valorar les traduccions al català de poesia en llengua anglesa durant el període comprès entre els anys 1990 i 2010. El propòsit de la tesi és plantejar un enfocament teòric per a l’estudi de la traducció de poesia basat en la retòrica. S’hi estudien fins a vint traduccions, a fi d’oferir un mostrari prou variat, ampli i divers que permeti assolir l’objectiu proposat. Tots els poetes en llengua anglesa que formen part del corpus han publicat, majoritàriament, la seva obra, durant els segles XX i XXI. Aquesta delimitació cronològica impedeix aplicar una metodologia historicista que no encaixaria amb els objectius sincrònics i teòrics d’aquesta tesi. Així doncs, la metodologia emprada és comparatista, descriptiva i empírica. El mètode comparatiu és del tot inevitable a l’hora d’aprofundir en l’estudi de qualsevol text traduït, perquè la traducció obliga a acarar dos textos: el text de partida i el text d’arribada. El mètode descriptiu i empíric permet arribar a conclusions contrastables, per tal com la tesi parteix sempre dels textos analitzats i prèviament descrits. La tesi es proposa demostrar que els textos de poesia traduïts poden ser descrits, estudiats i avaluats a partir de la retòrica, una disciplina que, des dels seus orígens, ha estat vinculada a la gramàtica i a la poètica, per la qual cosa es basa en el coneixement dels procediments del llenguatge característics de la literatura
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Davis-Allen, Pamela Marie. "Gypsy Soul, Wolf Spirit." Wright State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=wright1244129031.
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Gonçalves, Murilo de Almeida. "A poética de Paulo Henriques Britto: tensões entre subjetividade e forma." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-17072018-131338/.
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A presente dissertação tem como objetivo examinar alguns poemas que compõem a obra do escritor carioca Paulo Henriques Britto, a fim de que identifiquemos características que constituem sua poética. As análises irão recair sobre temáticas mais saliente de sua obra, como a questão do fazer poético, e as possibilidades de constituição de uma subjetividade. Acreditamos que observar cuidadosamente essa obsessão do autor por determinados temas nos ajudará a compreender características que constituem a lírica sua lírica.The present dissertation aims at examining some poems that compose the work of the writer Paulo Henriques Britto, in order to identify characteristics that constitute his poetics. The analyzes will fall on the most salient themes of his work, such as the question of making poetic, and the possibilities of constitution of a subjectivity. We believe that carefully observing this author\'s obsession with certain themes will help us to understand the characteristics that constitute his lyric.
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Watanabe, Edna Atsué. "Vozes das formas na poesia concreta do Grupo Noigandres /." São Paulo : [s.n.], 2009. http://hdl.handle.net/11449/86950.
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Orientador: Omar KhouriResumo: A proposta desta dissertação foi estudar as bases teóricas e os princípios formais apresentados no "Plano-piloto para a Poesia Concreta", 1958, que foi publicado em Noigandres 4 pelos poetas Augusto de Campos, Haroldo de Campos e Décio Pignatari, os quais conceberam a poesia como "uma arte geral da palavra" e "o espaço gráfico como elemento constitutivo estrutural do poema". A partir dos conceitos da semiótica desenvolvida por Charles Sanders Peirce, pretendeu-se compreender a forma como uma estrutura em movimento ou isomorfismo estrutural, que foi desenvolvido pelo grupo Noigandres na sua fase ortodoxa, entre 1955 a 1959, quando predominaram a forma geométrica e a matemática da composição. Finalmente, foram analisados cinco poemas representativos da Poesia Concreta Paulista elaborados entre 1955 a 1959.
Abstract: The proposal of this dissertation was to study the theoretical basis and formal principles set forth in the "Pilot-Plan for Concrete Poetry", 1958, published in Noigandres 4 by the concrete poets Augusto de Campos, Haroldo de Campos e Décio Pignatari, who used to conceptualize poetry as the "general art of the word" within which "the graphic space acts as structural agent of poem". On the basis of Charles Sanders Peirce's semiotics, we have hereby undertook to understand the concept of form as structural movement or structural isomorphism that has been worked out by the group Noigandres in their orthodox phase, between 1955 and 1959, when the geometric form and the mathematics of composition used to prevail in their poetry. Accordingly we have analyzed five representative poems by Concrete Poets from São Paulo, that were written by then.
Mestre
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Abdo, Sandra Neves. "Fernando Pessoa: poeta cético?" Universidade de São Paulo, 2002. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-04062002-123640/.
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Ce travail est une réflexion sur la portée philosophique de la poésie de Fernando Pessoa. Son présuposé fondamental est lidée que le sens premier de cette poésie, comme tutte poésie légitime, se développe au niveau de ses formes. Lanalyse textuelle sest révelée une procédure décisive qui permet de signaler la polyphonie en tant que principe constructif fondamental, par lequel Fernando Pessoa fait un discours poétique essentiellement dubitatif, interrogatif, suspensif, une véritable époche sceptique.Este trabalho é uma reflexão sobre o alcance filosófico da poesia de Fernando Pessoa. Seu pressuposto fundamental é a idéia de que o significado primeiro dessa poesia, como de toda legítima poesia, desenvolve-se no nível de suas formas. A análise textual mostrou-se, assim, um rocedimento decisivo, permitindo apontar a polifonia como princípio construtivo fundamental, pelo qual Fernando Pessoa faz um discurso poético essencialmente dubitativo, inquisitivo, suspensivo, uma verdadeira epoché cética.
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Pondian, Juliana di Fiori. "A forma da palavra: poesia visual sânscrita, grega e latina." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-31102011-132738/.
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Em nossos dias, considera-se a articulação entre expressão e conteúdo no poema um dos traços mais importantes da criação poética. Desde a eclosão dos movimentos estéticos de vanguarda do século XX, que procuraram romper com os discursos tradicionais e as formas canônicas do verso, a tensão palavra/som/imagem tem sido um vetor construtivo por excelência da criação poética, sendo a poesia visual uma das formas de arte que mais difusão apresentou nas últimas décadas. A presente pesquisa procura demonstrar que, mais que um traço característico da criação poética moderna, a tensão entre expressão e conteúdo e o recurso à visualização constituem procedimentos estéticos presentes em diversas tradições literárias da Antiguidade, tanto no Ocidente quanto no Oriente. Assim, este trabalho busca recuperar esses textos originais a partir do estudo de um conjunto de aproximadamente trinta poemas, pertencentes às tradições literárias sânscrita (o citrakvya), grega (o technopaignion) e latina (o carmen figuratum). O estudo consistiu em, de um lado, traduzir os poemas para a língua portuguesa, acompanhados de comentários críticos, a fim de compor uma antologia de poesia visual. E, de outro, analisar, com base na linguística estrutural e na teoria semiótica francesa, os mecanismos próprios de configuração de sentido dos poemas, a partir de questões clássicas acerca desse tipo de prática poética como as oposições entre arbitrariedade vs. motivação; oralidade vs. escrita; e temporalidade vs. espacialidade. Finalmente, aplicando as bases teóricas discutidas ao corpus estudado, procuramos estabelecer uma tipologia segundo a qual os poemas possam ser classificados.At the present time, one of the most important traits of a poetic creation is the relationship between expression and content in the poem. Starting from the outbreak of the avant-garde aesthetic movements of the 20th century, which sought to break with the traditional discourses and with the canonical forms of verse, the word/sound/image tension has been a constructive vector par excellence of the poetic creation, and visual poetry has been one of the most widespread forms of art in recent decades. This research aims to show that, rather than being a trait of the modern poetic creation, the tension between content and expression and the use of visualization is part of the aesthetic procedures also present in the literary traditions of antiquity, both in the West and the East. This work seeks to recover these original texts from the study of a group of about thirty poems, belonging to the Sanskrit (citrakvya), Greek (technopaignion) and Latin (carmen figuratum) literary traditions. On the one hand, the goal of the study is the translation of the poems into Portuguese, accompanied by critical comments in order to compose an anthology of visual poetry, and on the other hand, based on structural linguistics and French semiotics to analyze the proper configuration of meaning mechanisms of poems from the classic questions about this type of poetic practice as the oppositions between arbitrary vs. motivation; orality vs. writing, and temporality vs. spatiality. Finally, applying the discussed theoretical basis to the studied corpus, we sought to establish a typology to which these poems could be classified.
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Reinato, Pedro Martins. "A própria forma do bárbaro domínio: elementos da composição poética em \'O Guesa\', de Sousândrade." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-30072008-093222/.
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O presente trabalho busca analisar alguns elementos estéticos presentes na criação da obra O Guesa, do poeta maranhense Joaquim de Sousa Andrade, mais conhecido como Sousândrade. Procura-se demonstrar que a forma de sua poesia não consiste apenas em um capricho da subjetividade romântica, carente de programa estético definido. A partir da liberdade das formas conquistada no romantismo, o poeta demonstra lucidez em sua criação poética, utilizando a \"reflexão\", a \"imaginação\" e a \"fragmentação\" para criar uma forma de objetivação homóloga à natureza selvagem da lenda do muísca do Guesa. Além disso, tal forma poética estabelece-se como meio de expressão de seus conflitos internos e da sua visão acerca dos conflitos sociais de sua época.This paper seeks examine some of the aesthetic elements present in the creation of O Guesa, of maranhense poet Joaquim de Sousa Andrade, better known as Sousândrade. Looking up show that the form of his poetry not just in a romantic whim of subjectivity, lacking in aesthetic programme defined. From the freedom of forms conquered in romanticism, the poet demonstrates clarity in his poetic creation, using the \"reflection\", the \"imagination\" and the \"fragmentation\" to create a form of objetivation counterpart to the wild nature of the muísca legend of Guesa. Moreover, such a poetic establishes itself as a means of expression of their internal conflicts and their vision about the social conflicts of his time.
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ARRIGONI, Luigi Ernesto. "La metrica di Alfonso Gatto. Strutture formali e paradigmi artistici." Doctoral thesis, Università degli studi di Bergamo, 2010. http://hdl.handle.net/10446/598.
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The thesis focuses on the metrical forms in Alfonso Gatto’s poetry. The work analyses Gatto’s entire production from the first book, Isola, dated 1932, up to the posthumous volume, Desinenze, published in 1977, one year after the writer’ s death. It is fundamental, in a global perspective on the metrical aspects, to delve on the interaction between art and literature. Gatto wrote several essays about painting, sculpture, architecture, theatre and cinema. His books were often illustrated by contemporary artists, like Fulvio Bianconi (Allegretto, 1957), Carlo Carrà (Venezia, 1964) and Graziana Pentich (Il vaporetto, 1963), the poet’s mate. The aesthetic concept that emerges from his articles and from the collaborations with some painters allows to adapt some categories used for the arts of XIX and XX centuries (Impressionism, Cubism, Abstract and Informal Art) to describe the metric of Gatto’s poems. Gatto used various poetic forms, both regular and closed (especially sonnets, quatrains of hendecasyllables and canzonette of settenari) and written in free verses (short and long ones). The connection among the different types of verses is similar to the dynamic aspects of painting, sculpture and cinema. The book in which explicitly appears the importance of the parallelism between painting and literature is Rime di viaggio per la terra dipinta, a collection of 100 poems created with 100 pictures painted by Gatto himself.
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Machado, Admarcio Rodrigues. "Forma e indeterminação em As metamorfoses de Murilo Mendes." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-11122015-140007/.
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Este trabalho analisa o livro As Metamorfoses, do poeta Murilo Mendes. A perspectiva escolhida é a da invenção por meio da linguagem desse poeta. Reconhecendo que a imagem tem valor inestimável na poesia de Murilo, nossa análise elucida a construção imagética atentando para o modo como a organização das palavras figura o efeito de desorganização semântica que lembra alguns quadros surrealistas. Nesse sentido, a pergunta que norteia este trabalho é: Como o poeta usa a forma para a construção da indeterminação de sentido? Para respondê-la, recorremos, além de textos poéticos e não poéticos de Murilo Mendes, a textos sobre o Surrealismo, o Essencialismo de Ismael Nery e sobre forma e indeterminação semântica, que nos ajudaram a entender melhor o código poético de Murilo Mendes, inclusive entrevendo nesse código um padrão compositivo. Sendo a junção de imagens descontínuas no poema a principal característica do trabalho de montagem em Murilo Mendes, julgamos coerente supor que esse procedimento de composição exige uma performance idiossincrática do leitor. Na condição de obra moderna, a poesia muriliana exige um leitor também moderno. Para constituí-lo textualmente, estudamos também alguns pré-requisitos de leitura que devem ser acionados para a compreensão da proposta artística de Murilo Mendes, recorrendo sistematicamente a textos da estética da recepção.This dissertation analyzes the book As Metamorfoses, by the poet Murilo Mendes. The chosen perspective of analysis are his poetical procedures. Recognizing that images are central in Murilos poetry, our analysis elucidates his imagery construction, focusing on the ways the organization of words features the semantic disorganization effect which reminds Surrealistic paintings. In this sense, the question that guides this work is: How does the poet use the form to build the indeterminacy of meaning? In order to answer it, we use, besides Murilo Mendes poetic and non poetic texts, texts on Surrealism, the Essentialism of Ismael Nery and about form and semantic indeterminacy, that help us to understand Murilo Mendes poetic code, including glimpsing a compositional standard in such code. Since the main feature in Murilo Mendes work is the joining of discontinuous images in the poem, it seems coherent to assume that his composition model requires an idiosyncratic readers performance. Murilos poetry also requires a modern reader. With that in mind, we also studied some reading prerequisites that must be triggered for the understanding of Murilo Mendes artistic proposal, systematically resorting to aesthetics of receptions texts.
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Poyhonen, Alexander J. "Don Quijote lo Interminable: La Cuestión de los Textos Originales y las Emanaciones a Través de Formas Secundarias de Arte." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/522.
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In chapter 1, I ponder the role of authorship and whether or not an original text can truly exist. Specifically, the claim that Borges has that a copy can be superior to an original. From this, brings me to chapter 2 with the movie Man of la Mancha. In this movie, I highlight some of the pros and cons of a copy. The windmill scene is a negative emanation of the Quixote, while the interaction between people and the presence of women is something the movie truly displays well. In the third chapter, I look at Lost in la Mancha because it demonstrates a failed attempt to translate the Quixote. In essence, anything that tries to represent this truly great text will fail; however, it's failure can paradoxically be thought of as a success because it's an homage to the Quixote. As far as the Ezra Pound material, I thought it extremely pertinent to look at his experience on a metro because he attempts to describe a vision that he had through poetry. He notes that it is very difficult to encapsulate his entire experience because the primary form of art (his vision) is being described through a secondary form (words). Thus, when you translate a form of art through a medium it loses some of its value. This is what happens with the Quixote; its primary form (words) is being displayed through a secondary form (film), and it inevitably loses something in the translation. The final chapter/conclusion is a more in-depth investigation of this investigation primary form of art (writing). This uses the character of Gines as a concrete example of a formal and stylistic quality that is unique to literature. Namely, the physical ranging of words on a page in both a spatial and literary sense. When you extract those lines from a novel you implicitly remove some of the dialectic between Cervantes' work and the genres he's invoking, just by taking it out of the form of literature. The surroundings of text establish the meaning of the novel. The conclusion is my final chance to argue why the Quixote is so special and untranslatable. I touch on the qualities that keep it forever live and present in us today. Through the Quixote's proclivity for renaming the real world (established societal beliefs/values, etc.) in his own vein, Cervantes allows for the Quixote to reappropriate the world around him, making it uniquely his. In so doing, Cervantes creates a character who is able, not only to write his own self-history, but to control the way that said self-history will be written by others. By blurring the lines between narrator and narration and history and fiction, Cervantes creates a work that is endlessly present, where words becoming living page, and actions occur as they are said.
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Watanabe, Edna Atsué [UNESP]. "Vozes das formas na poesia concreta do Grupo Noigandres." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/86950.
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A proposta desta dissertação foi estudar as bases teóricas e os princípios formais apresentados no “Plano-piloto para a Poesia Concreta”, 1958, que foi publicado em Noigandres 4 pelos poetas Augusto de Campos, Haroldo de Campos e Décio Pignatari, os quais conceberam a poesia como “uma arte geral da palavra” e “o espaço gráfico como elemento constitutivo estrutural do poema”. A partir dos conceitos da semiótica desenvolvida por Charles Sanders Peirce, pretendeu-se compreender a forma como uma estrutura em movimento ou isomorfismo estrutural, que foi desenvolvido pelo grupo Noigandres na sua fase ortodoxa, entre 1955 a 1959, quando predominaram a forma geométrica e a matemática da composição. Finalmente, foram analisados cinco poemas representativos da Poesia Concreta Paulista elaborados entre 1955 a 1959.
The proposal of this dissertation was to study the theoretical basis and formal principles set forth in the “Pilot-Plan for Concrete Poetry”, 1958, published in Noigandres 4 by the concrete poets Augusto de Campos, Haroldo de Campos e Décio Pignatari, who used to conceptualize poetry as the “general art of the word” within which “the graphic space acts as structural agent of poem”. On the basis of Charles Sanders Peirce´s semiotics, we have hereby undertook to understand the concept of form as structural movement or structural isomorphism that has been worked out by the group Noigandres in their orthodox phase, between 1955 and 1959, when the geometric form and the mathematics of composition used to prevail in their poetry. Accordingly we have analyzed five representative poems by Concrete Poets from São Paulo, that were written by then.
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Moura, Carla Brogliato Cardoso de. "O haicai de Paulo Leminski: a busca da forma para sua poesia." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/14712.
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Previous issue date: 2013-05-29The main goal of this study is to investigate how the poet Paulo Leminski reveals language awareness under the haiku form, and expresses his sensibility thought it. Particularly questions how far his poetry reveals the haiku s intellectual structure. To guide our research on Paulo Leminski s work, we studied different procedures present in the eastern haiku, like the connection with the Zen gesture, the rhythm and the visual presentation of the letters and words, trying to capture them throughout his poetries. All kinds of poems and different structure options were selected for the analysis, so we could point its plurality. By translating different imagistic procedures, Leminski builds up a form for his own Brazilian haiku, presenting us the craft of his poetry
O objetivo central desta pesquisa é investigar como Paulo Leminski, em sua produção poética, manifesta consciência de linguagem sobre a forma do haicai e expressa nela sua sensibilidade. Especialmente, interroga até que ponto a poesia leminskiana revela a linha de pensamento construtora do haicai. Para orientar nossa reflexão acerca da poesia leminskiana, averiguamos distintos procedimentos presentes no haicai oriental, como a articulação com o gesto Zen, a visualidade das letras e palavras, o ritmo, o movimento, buscando apreendê-los na produção do poeta. A fundamentação teórico-crítica baseouse nos estudos de Caetano Veloso e do próprio Leminski sobre o contexto da época, assim como, para a reflexão sobre o hacai, nos de Ernest Fenollosa, Haroldo de Campos, Octavio Paz e Paulo Leminski. Selecionamos, para análise, poemas com diferentes procedimentos de construção, para que pudéssemos evidenciar sua pluralidade poética. Ao traduzir diferentes procedimentos imagéticos, o poeta constrói uma forma para o seu haicai brasileiro, ensinando a ver a forma de sua poesia
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SILVA, Nivaldo Carlos Lima da. "As formas do mito nos cantares amazônicos do poeta João de Jesus Paes Loureiro." Universidade Federal do Pará, 2009. http://www.repositorio.ufpa.br:8080/jspui/handle/2011/2100.
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UFPA - Universidade Federal do Pará
Analisa os poemas da Trilogia Amazônica (Cantares Amazônicos) com o objetivo de apontar como o poeta aborda as formas do mito e como revive e recria um pouco da história da Amazônia. Os conceitos teórico-metodológicos que a permeiam são do próprio poeta, tais como conversão semiótica e epifania negativa, dentre outros. Utilizam-se, também, algumas obras que retratam a situação da Amazônia a partir dos anos 50, período da implantação do projeto de desenvolvimento para modernização da região. A leitura dos poemas se realiza à luz desse contexto histórico e cultural em que a chegada de novos capitais à região desestrutura as relações aí existentes. Como se deu esse processo? Quais as suas conseqüências para as populações autóctones e para a natureza, que virou espaço paradoxal de civilização e barbárie, produto de exploração e cobiça, perturbando o homem amazônico? Como se processa a passagem de uma mentalidade mítica a uma racionalidade, isto é, a deslenda mítica e a visão da cidade como um espaço de ruína: memória e esquecimento é desse trajeto, entre poesia e realidade, que o poeta colhe o material para sua escritura, convertendo a realidade como material estético, não para estetizar a miséria, mas como maneira de dar forma poética ao tempo histórico que cruza e é cruzado com o mito, ou as formas poéticas do mito.
It analyses the poems from Amazon Trilogy objectifying to point out how the poet relives and recreates a little bit about the History of Amazon. Concepts theorical-methodologies from own poet like semiotic conversion, negative epiphany and others beyond to use works which retract the situation of Amazon region since 1950, period of implantation of development project to modernization itself. Poems will be read at light from this cultural e historic context which the new capitals arrived to region breaking the relationship in this place. How it was the process? And which the consequences to the primitive populations and to nature which to change in paradox space of civilization and barbarian, product of exploration and greed, perturb the Amazon man? How process itself the passage from a mythical thought to a rationally, so the mythical deslegend and the vision of city like space of ruin: memory and forgetfulness and also of vices in this route between poetry and reality is that realize who poet to gather from his context the raw material to the poetry changing the reality like aesthetics material, isn’t to aesthetic the misery , but how way to give poetical form to historical time that cross and it is crossed like myth, or poetical forms of myth.
SEDUC/PA - Secretaria de Estado de Educação
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Sant'anna, Maíra Tamaoki. "Da forma à substância : a percepção tátil da figura feminina em alguns poemas de Quaderna de João Cabral de Melo Neto /." Araraquara : [s.n.], 2009. http://hdl.handle.net/11449/91533.
Full textAbstract:
Orientador: Maria de Lourdes Ortiz Gandini BaldanBanca: Diana Junkes Martha Toneto
Banca: Antonio Donizeti Pires
Resumo: Sabe-se que a poesia de João Cabral de Melo Neto faz parte de um projeto poético que preza pela lucidez e rigidez formal, e, por outro lado, constitui-se de poemas expressivos e comoventes. Notamos que a primeira constatação é tão salientada nos estudos sobre a obra do poeta que a segunda é, muitas vezes, desprezada. Entendemos que tal fenômeno se deve ao fato de que esse suposto caráter racional da poesia cabralina possibilita sua distinção das outras poesias, tornado-a peculiar. Entretanto, embora a comoção chegue a caracterizar poesia, de modo geral, a que se constrói na obra de João Cabral é tão atípica quanto sua abordagem lógica. Desse modo, o presente estudo propõe a análise de poemas em que a coexistência dos fatores considerados é exemplar, os quais se denominam "Estudos para uma bailadora andaluza", "Paisagem pelo telefone", "A mulher e a casa", "A palavra seda", "Imitação da água" e "Jogos frutais". Estes estão reunidos em Quaderna, de 1960, obra do poeta que concentra, de modo mais relevante, poemas que abordam a figura feminina. Defendemos que essa figura dos poemas difere da expressão poética que a tradição tem construído, a princípio por estar expressa por meio da linguagem cabralina "típica", formal e estruturalmente rígida, contudo apresenta intensa sensorialidade. Notamos, inclusive, uma exaltação do feminino, que transcende a forma, o corpo em si, perpassa todo espaço poético e as palavras, culminando em uma celebração da própria poesia. Portanto, há um interessante paradoxo que procuramos investigar: como o feminino, que tem sido considerado como um tema lírico, pelo sentimentalismo com o qual é associado na poesia em geral, aparece nesta poética chamada "anti-lírica", pelo laconismo e racionalismo imperantes. Além de se tratar de um aspecto menos evidenciado pela crítica, esta aparente... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: It is known that João Cabral de Melo Neto's poetry belongs to a poetic project which values the lucidity and formal rigidity and, on the other hand, is constituted by expressive and touching poems. We note that the first finding is so stressed in studies on poet's work that the second is often neglected. We understand that this phenomenon is due to the fact that this supposedly rational character of João Cabral's poetry allows its distinction from other poetry, making it unique. However, although commotion usually characterizes poetry, in general, the one which is built on João Cabral's work is as atypical as its logical approach. Therefore, this study proposes the analysis of poems in which the factors considered's coexistence is exemplary; they are called "Estudos para uma bailadora andaluza", "Paisagem pelo telefone", "A mulher e a casa", "A palavra seda", "Imitação da água", and "Jogos frutais". These are gathered in Quaderna, 1960, the poet's work which concentrates poems that come up with the female figure in a more relevant way. We defend that this poem figure differs from poetic expression that the tradition has built, at first for being expressed through João Cabral typical language, formal and structurally rigid, however presents intense sensoriality. There is even a feminine exaltation, which transcends the form, the body itself, involves the whole poetic space and the words, culminating in a celebration of the own poetry. So there is an interesting paradox that we investigate: how the feminine, which has been regarded as a lyrical theme by the sentimentality with which is involved in poetry in general, appears in this poetic called "anti-lyrical", by laconism and rationalism prevailing. Even we considerate an aspect less evidenced by the criticism, this apparent incongruity justifies the research interest, through which we seek... (Complete abstract click electronic access below)
Mestre
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Pedrolo, Fabiana Maceno Domingos. "Faces e interfaces do cinema de poesia – A insustentável leveza do ser e a forma lírica de narrar a liberdade." Universidade Estadual do Oeste do Paraná, 2018. http://tede.unioeste.br/handle/tede/3573.
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This research presents an analysis of the cinematographic work The Unbearable Lightness of Being (1987) directed by Philip Kaufman, a movie based on the homonymous literary work of the Czech writer Milan Kundera. Based on their main characters – Tereza, Tomaz, Sabina and Franz –, the preponderant characteristics of these characters were pointed out, aiming at comparing them in terms of the perception of freedom that each presents, as well as the inherent aspects of the poetry cinema present in this production which help in the construction of the imaginary and literary senses. For such an approach, it was necessary as theoretical reference, the authors found in the philosophy that conceptualize and treat the theme of freedom as Jean-Paul Sartre and Simone de Beauvoir, philosophers considered referential about the main existentialist current guiding the term concept. Aiming at the confluence between literature, cinema and philosophy, this study proposes, above all, the poetic interpretation of a cinematographic work, the amplification of meanings through the lyrical elements and also, corroborate so that the characteristic aspects to the cinema of poetry, proposed by Pier Paolo Pasolini, are identified and recognized even in postmodern works, produced long after the filmmaker, such as Lavoura Arcaica (2001) by Luiz Fernando Carvalho or the films of Peter Greenway, whose ideas depart from the images to the text and not the other way around. In addition to Pasolini (1981), Carlos Melo Ferreira (2004) and Andrei Tarkovski (1998) were consulted to give subsidies in order to understand how the field of poetry is constructed within cinematographic works.
A presente pesquisa apresenta uma análise da obra cinematográfica A Insustentável Leveza do Ser (1987), direção de Philip Kaufman, filme baseado na obra literária homônima, do escritor tcheco Milan Kundera. Partindo de suas personagens principais – Tereza, Tomaz, Sabina e Franz –, foram elencadas as características preponderantes dessas personagens visando um comparativo entre elas no que tange à percepção de liberdade que cada uma apresenta, bem como aos aspectos inerentes ao cinema de poesia presentes nessa produção que auxiliam na construção dos sentidos imagéticos e literários. Para tal abordagem, mostrou-se necessário que se fizessem presentes, no referencial teórico, os autores encontrados na filosofia que conceituam e tratam do tema da liberdade, como Jean-Paul Sartre e Simone de Beauvoir, filósofos considerados referenciais no que diz respeito à corrente existencialista, principal norteadora do conceito do termo. Visando verificar a confluência entre literatura, cinema e filosofia, este estudo propõe, sobretudo, a interpretação poética de uma obra cinematográfica, a ampliação dos significados através dos elementos líricos e, ainda, corroborar o entendimento de que os aspectos característicos ao cinema de poesia, tal como propostos por Pier Paolo Pasolini, sejam identificados e reconhecidos mesmo em obras pós-modernas, produzidas muito tempo depois do cineasta, como Lavoura Arcaica (2001), de Luiz Fernando Carvalho ou os filmes de Peter Greenway, cujas ideias partem das imagens para o texto e não o contrário. Além de Pasolini (1981), Carlos Melo Ferreira (2004) e Andrei Tarkovski (1998) foram consultados para dar subsídios visando compreender como o campo da poética se constrói dentro das obras cinematográficas.
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Rojas, Juan A. "Pos/modernidad y (multi)forma en la obra de dos poetas mexicanoscontemporaneos: Alberto Blanco y Coral Bracho." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/280090.
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Pos/modernidad y (multi)forma en la obra de dos poetas mexicanos contemporaneos: Alberto Blanco y Coral Bracho studies the effects of modernity in Contemporary Mexican poetry. According to literary critics such as Evodio Escalante and Christopher Dominguez, Blanco and Bracho in their radical experimentation of poetic language create a multiform that concedes diverse possibilities of expression. This dissertation is theoretically backed by the works of Nestor Garcia Canclini and Edward O. Wilson, which allow me to underscore the importance and influence of politics, economics, and culture in these Mexican poets. Chapter Two analyzes twenty-two poetic anthologies with the intention of demonstrating the effects of posmodernity in poetic production and diffusion as well as to create a historiographic approach to the generation of poets from the 50s. Chapters Three and Four observe the poetic multiform in the works of Blanco and Bracho respectively. This analysis in grounded in the theoretical insights of Edward O. Wilson that explain how Consilience is the unity of knowledge through science and humanities. Consequently, Blanco explores the various theories of Physics, specifically the fractals and the hologram, while Bracho follows the discourse of Deleuze and Guattari about Rhizomes.
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Evans, Philippa A. "Nudus amor formam non amat artificem : representations of gender in elegiac discourse." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017895.
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This thesis explores the representation of gender, desire, and identity in elegiac discourse. It does so through the lens of post‐structural and psychoanalytic theory, referring to the works of Michel Foucault, Judith Butler, Jessica Benjamin, and Laura Mulvey in their analyses of power, gender performativity, and subjectivity. Within this thesis, these concepts are applied primarily to the works of Tibullus, Propertius, and Sulpicia, ultimately demonstrating that the three love elegists seek, in their poetry, to construct subversive discourses which destabilise the categories by which gender and identity were determined in Augustan Rome. This discussion is supplemented by the investigation of Ovid’s use of elegiac discourse in Book 10 of his Metamorphoses, and the way in which it both comments upon Augustan love elegy and demonstrates a number of parallels with its thematic content. This thesis focuses especially on the representation of power relations within elegiac discourse, the various levels on which such relations operate and, finally, the possibilities for the contestation of and resistance to power, in addition to the motivations that might lie behind the poet‐lover’s frequent attraction and submission to it.
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Silva, Romero Jorge Henrique da 1980. "As formas da inspiração = linguagem e criação poética em "Inspiração nordestina" de Patativa do Assaré." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270175.
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Orientador: Suzi Frankl SperberDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho procura investigar a linguagem e a criação poética em Inspiração Nordestina. Publicado em 1956, esse livro representa um momento importante na trajetória poética de Patativa do Assaré. A questão que permeia toda a dissertação é como o poeta transita entre as formas de uma tradição popular, com um repertório composto por cordéis, desafios e pelejas, e uma tradição poética composta por formas pouco utilizadas pelos "poetas populares", como décimas, sonetos, oitavas. É utilizando essa diversidade de recursos poéticos e a possibilidade de se expressar em duas "línguas" ("matuta" e outra de acordo com a norma padrão) que o poeta redimensiona panorama da poesia brasileira dos séculos XX e XXI
Abstract: This study investigates the language and poetic creation in Inspiração Nordestina. Published in 1956, this book represents an important moment in the history of poetic Patativa do Assaré. The question that permeates the entire thesis is how the poet moves between forms of a popular tradition, with a repertoire consisting of "cordéis", "desafios" and "pelejas", and a tradition of poems composed by some forms used by the "folk poets" as decimals, sonnets , octaves. It is using this diversity of poetic devices and the possibility to express themselves in two "languages"("Matuta"and standard) that the poet resize the panorama of Brazilian poetry of XX and XXI century
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Sant'anna, Maíra Tamaoki [UNESP]. "Da forma à substância: a percepção tátil da figura feminina em alguns poemas de Quaderna de João Cabral de Melo Neto." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/91533.
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santanna_mt_me_arafcl.pdf: 422101 bytes, checksum: 5aed0961d7c840c8624b00ea429aa653 (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Sabe-se que a poesia de João Cabral de Melo Neto faz parte de um projeto poético que preza pela lucidez e rigidez formal, e, por outro lado, constitui-se de poemas expressivos e comoventes. Notamos que a primeira constatação é tão salientada nos estudos sobre a obra do poeta que a segunda é, muitas vezes, desprezada. Entendemos que tal fenômeno se deve ao fato de que esse suposto caráter racional da poesia cabralina possibilita sua distinção das outras poesias, tornado-a peculiar. Entretanto, embora a comoção chegue a caracterizar poesia, de modo geral, a que se constrói na obra de João Cabral é tão atípica quanto sua abordagem lógica. Desse modo, o presente estudo propõe a análise de poemas em que a coexistência dos fatores considerados é exemplar, os quais se denominam “Estudos para uma bailadora andaluza”, “Paisagem pelo telefone”, “A mulher e a casa”, “A palavra seda”, “Imitação da água” e “Jogos frutais”. Estes estão reunidos em Quaderna, de 1960, obra do poeta que concentra, de modo mais relevante, poemas que abordam a figura feminina. Defendemos que essa figura dos poemas difere da expressão poética que a tradição tem construído, a princípio por estar expressa por meio da linguagem cabralina “típica”, formal e estruturalmente rígida, contudo apresenta intensa sensorialidade. Notamos, inclusive, uma exaltação do feminino, que transcende a forma, o corpo em si, perpassa todo espaço poético e as palavras, culminando em uma celebração da própria poesia. Portanto, há um interessante paradoxo que procuramos investigar: como o feminino, que tem sido considerado como um tema lírico, pelo sentimentalismo com o qual é associado na poesia em geral, aparece nesta poética chamada “anti-lírica”, pelo laconismo e racionalismo imperantes. Além de se tratar de um aspecto menos evidenciado pela crítica, esta aparente...
It is known that João Cabral de Melo Neto’s poetry belongs to a poetic project which values the lucidity and formal rigidity and, on the other hand, is constituted by expressive and touching poems. We note that the first finding is so stressed in studies on poet’s work that the second is often neglected. We understand that this phenomenon is due to the fact that this supposedly rational character of João Cabral’s poetry allows its distinction from other poetry, making it unique. However, although commotion usually characterizes poetry, in general, the one which is built on João Cabral’s work is as atypical as its logical approach. Therefore, this study proposes the analysis of poems in which the factors considered’s coexistence is exemplary; they are called “Estudos para uma bailadora andaluza”, “Paisagem pelo telefone”, “A mulher e a casa”, “A palavra seda”, “Imitação da água”, and “Jogos frutais”. These are gathered in Quaderna, 1960, the poet´s work which concentrates poems that come up with the female figure in a more relevant way. We defend that this poem figure differs from poetic expression that the tradition has built, at first for being expressed through João Cabral typical language, formal and structurally rigid, however presents intense sensoriality. There is even a feminine exaltation, which transcends the form, the body itself, involves the whole poetic space and the words, culminating in a celebration of the own poetry. So there is an interesting paradox that we investigate: how the feminine, which has been regarded as a lyrical theme by the sentimentality with which is involved in poetry in general, appears in this poetic called anti-lyrical, by laconism and rationalism prevailing. Even we considerate an aspect less evidenced by the criticism, this apparent incongruity justifies the research interest, through which we seek... (Complete abstract click electronic access below)
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Ara?jo, Francisco Magno Silva de. "O Ateneu e a nostalgia na forma." Universidade Federal do Rio Grande do Norte, 2011. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16200.
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Previous issue date: 2011-05-25Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior
The actual study proposes Raul d‟?vila Pomp?ia‟s O Ateneu (1888) among the most significant works in Brazilian Literature panorama, according to the perspective of verbal materiality of the Romanesque genre under a form nostalgia sign that, in its turn, ascends to the archaic origin poetry of fable. Along with large rereading of pertinent bibliography, it is gone here toward narrator Sergio‟s cr?nica de saudades on pursuit of showing it, firstly, as poetic language allegory updated in the novel technique; secondly, as radical metalanguage that still renders problematic several aspects of modern fictional prose
O presente estudo prop?e O Ateneu (1888) de Raul d‟?vila Pomp?ia dentre as obras mais significativas no panorama da Literatura Brasileira, segundo a perspectiva de materialidade verbal do g?nero romanesco sob o signo de uma nostalgia da forma que, por sua vez, remonta ? poesia da origem arcaica da f?bula. A par de ampla releitura da bibliografia pertinente, envereda-se aqui pela cr?nica de saudades do narrador S?rgio em busca de mostr?-la, primeiro, como alegoria da linguagem po?tica atualizada na t?cnica do romance; segundo, como metalinguagem radical que ainda problematiza v?rios aspectos da moderna prosa de fic??o
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Bastos, Leandro Tibiriça de Camargo. "Formas do discurso, desenvolvimento do personagem e estrutura dramatúrgica: uma poética da tradução em Thomas Kyd." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8160/tde-10072018-152717/.
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No nascimento da modernidade houve um grande crescimento produtivo, o que levou ao incremento das instituições mediadoras da vida social. Os efeitos disso na esfera do discurso e da formação do sujeito se manifestaram também no teatro, na formação dos personagens. A passagem de uma mentalidade mítica para uma racionalista marcou os sujeitos, muitas vezes, de forma trágica, dilacerados entre demandas desencontradas e discursos opostos. A subjetividade se tornou o campo desse tipo de batalha. Um exemplo privilegiado desse momento é The Spanish Tragedy, de Thomas Kyd. Tragédia inaugural do teatro elisabetano, Kyd foi o primeiro autor a concentrar a maioria de seus monólogos em um único personagem, contrastando com peças anteriores, como Gorboduc, em que os monólogos eram mais distribuídos. Isso possibilitou uma concentração de tensão e um desenvolvimento dramatúrgico que influenciou gerações, inclusive um jovem dramaturgo iniciante chamado William Shakespeare. Não é apenas uma coincidência que Kyd tenha inaugurado com sua peça um gênero, as tragédias de vingança, que criou uma longa linhagem, cujo representante mais ilustre é Hamlet. Mas esse desenvolvimento concentrado, que permitiu um crescendo ao longo da peça, se olhado de perto, apresenta uma outra dimensão. A fatura linguística dos monólogos traz materiais das mais diversas fontes. Se estão presentes recursos linguísticos da literatura clássica e da retórica da corte, também aparece uma dicção provinda da burguesia, seja das controvérsias religiosas, seja dos livros de cortesão, que discutiam o comportamento adequado em sociedade. Temos, portanto, recursos textuais provenientes dos atores sociais que tencionavam a época: aristocracia decadente e burguesia ascendente. Vistos em sequência, os monólogos apresentam uma transição das formas mais tradicionais e conservadoras de discurso para as mais modernas. Dessa forma, o desenvolvimento do personagem e a estrutura dramatúrgica construída em torno dele se tornam um espelho de sua época. A mesma tensão que vemos no grande quadro da história, se fecharmos o foco sobre o personagem e, mais ainda, sobre sua interioridade, nos monólogos, reaparece nas suas formas de discurso. Ao fazer um panorama histórico, uma descrição da evolução do personagem e um exame detalhado de momentos-chave de seus monólogos, esperamos demonstrar esses nexos.In the birth of modernity, there was a great productive growth, which led to the increase of institutions mediating social life. The effects of this situation in the sphere of social discourse and in the formation of the subjects also manifested themselves in the theater, in the formation of the characters. The transition from a mythical mentality to a rationalist one marked the subjects, often tragically, torn between disjointed demands and opposed discourses. Subjectivity became the battlefield of this type of struggle. A prime example of this moment is The Spanish Tragedy, by Thomas Kyd. Kyd was the first author to concentrate most of his monologues on a single character, contrasting with earlier plays such as Gorboduc, where the monologues were more widely distributed. This enabled a concentration of tension and a dramaturgical development that influenced generations, including a young beginner playwright named William Shakespeare. It is not only a coincidence that Kyd inaugurated, with his play, a genre, the revenge tragedy, which created a long lineage, the most illustrious representative being Hamlet. But this concentrated development, which allowed a crescendo throughout the play, if looked closely, presents another dimension. The linguistic making of the monologues brings materials from the most diverse sources. If linguistic resources of classical literature and court rhetoric are present, there is also a diction from the bourgeoisie, whether from the religious controversies or from the court books, which discussed proper behavior in society. Therefore, we have textual resources coming from the social actors who confronted each other in that era: decadent aristocracy and rising bourgeoisie. Viewed in a sequence, the monologues show a transition from the more traditional and conservative forms of discourse to the more modern ones. In this way, the development of the character and the dramatic structure built around him become a mirror of his time. The same tension that we see in the great picture of history, if we close the focus on the character, even more, on his interiority, in the monologues, reappears in his forms of discourse. Making a historical overview, a description of the development of the character and a detailed examination of moments of his monologues, we hope to demonstrate these links.
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Masley, Jennifer Irene. "Transitory Ephemera." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619444631965175.
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Toshimitsu, Thaís Mitiko Taussig. "O rio, a cidade e o poeta: impasses e contradições na poesia de João Cabral de Melo Neto." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-27042010-115834/.
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A poesia de João Cabral de Melo Neto sofre por sua indefinição de lugar. Este trabalho, então, vai à busca da especificação do lugar social que ocupa o eu poético na obra do autor e, a partir disso, da definição de seu projeto estético, pautado pela aproximação das formas populares e, ao mesmo tempo, por seu oposto as mais sofisticadas formas de arte de seu tempo, constituídas pela racionalidade e não pela tradição. Trata-se de pensar as duas faces de sua poesia, durante tanto tempo compreendidas como duas vertentes incomunicáveis de sua poética, como definições que se articulam em dependência. O vértice comum teria origem na consciência do poeta acerca do subdesenvolvimento, como condição do país. É a partir disso que Cabral, primeiro, intenta a aproximação com a cultura popular, buscando nela a redução da distância entre as classes sociais no país. Para em seguida, incluir no poema as formas da modernização através das quais o país se transformava, tentando fazer do poema gesto de intervenção rigorosa sobre a matéria local. A racionalidade, por isso, será apresentada em sua poesia como nova alternativa ao subdesenvolvimento.The poetry of João Cabral de Melo Neto suffers from a lack of definition of place. Therefore, this study seeks to specify the social place occupied by the lyric self in the authors work and, from this, define his aesthetic plan, guided by the contrasting of popular forms and their opposite the most sophisticated art forms of his time, representing rationality instead of tradition. The two faces of his poetry, which for so long time were understood as two independent branches of his poetics, are seen as definitions that articulate dependently. The common vertex originates in the poets awareness of Brazils condition as an underdeveloped country. Cabral first attempts to incorporate popular culture, seeking to reduce the gap between the countrys social classes. Then he includes in the poem the forms of modernization through which the country was being transformed, trying to make the poem a gesture of rigorous intervention on the local material. Rationality, therefore, is presented in his poetry as a new alternative to underdevelopment.
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Serrano, Vincenz. "'Eskinita' and other poems, and, Form, historiography, and nation in Nick Joaquin's 'Almanac for Manileños'." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/eskinita-and-other-poems-and-form-historiography-and-nation-in-nick-joaquins-almanac-for-manilenos(0e55ceea-e7ad-4075-b4a5-3a9a9ace1729).html.
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Eskinita and Other Poems Eskinita and Other Poems is a collection of poems and sequences with Manila as its context and the city walker as its key figure. An eskinita - a Tagalog diminution of the Spanish word esquina, which means "corner" - is a term used to refer to sidestreet so narrow that even a car would find it hard to maneuver there; an eskinita that leads to a dead end, moreover, is called an interior. Grounded in, yet taking flight from, the language and imagery of Manila, the manuscript draws on the city's history and its present moment as it juxtaposes personal experiences and scholarly sources to portray a city whose development - considered in works like Nick Joaquin's Manila, My Manila, Manuel Caoili's The Origins of Metropolitan Manila, and Robert Reed's Colonial Manila - is bound up with political, social, economic, and postcolonial structures. Through this space goes the city walker, a figure considered in literary and theoretical texts like Walter Benjamin's study on the flâneur, Michel de Certeau's analysis of walking, and psychogeographic writings of the Situationists. The poems are concerned with formal strategies that take their cues from Anglo-American Modernism - collages of texts in lyric and prose, serial structures, and line splicings - and aim to express the complex experience of walking in Manila, of writing Manila: juxtapositions and interpenetrations between interior and exterior, scholarly and demotic language, past and present. The long poem Eskinita extends the use of these devices: apart from prose and verse combinations, it incorporates quotation, parataxis, and photography. Although the overt aim is to offer, using the aesthetic resources of poetry, multiple and refracted views of Manila, Eskinita nevertheless endeavours to express - by constraining words, lines, and page layout - a sense of containment and limit. By counterpointing multiple textual and visual modes - and including various sources and formal devices - Eskinita and Other Poems explores and sometimes rejoices in the tensions between polyphonic and disjunctive elements, and the way their structures generate resonance and dialogue between unlikely familiars. Form, Historiography, and Nation in Nick Joaquin's Almanac for Manileños This thesis argues that the Almanac - when contextualised within the long-standing tradition of the almanac genre, and examined using the theoretical underpinnings of Mikhail Bakhtin's notion of heteroglossia, Walter Benjamin's views of fragmentary historiography, and intertwining aspects of literary form and nation formation - expresses the multiple, not singular, temporalities that constitute and complicate the Filipino nation. Produced in 1979, during Martial Law in the Philippines, the Almanac's formal strategy - demonstrated by the accommodation of discrepant genres, compression and correspondence in the calendars, and fragmentation in the essays - is a kind of non-linear historical emplotment. Such an aesthetic - derived in part from Modernism - is distinct from, and critically interrogates, fixed and linear articulations of national history. The focus of the analysis is a reading of the Almanac's calendars and essays. The distinctions and interactions between these subgenres result in a text that is both cohesive and stratified: calendrical entries which are comprised of national and religious elements and have past and future orientations inhabit the same space as temporally disjunctive essays. Despite fragmentation, the Almanac is nevertheless held together by correspondences and associations. The Almanac's oblique and tangential strategy of representing Philippine history - when seen in the light of the obsolescence of a now-moribund but then-vital genre - critiques linear historiography. By accommodating accounts of missed chances and foregrounding seemingly irrelevant details, Joaquin's Almanac interrogates historical narratives which, in the name of progress, fail to incorporate materials that are aberrant and inconsequential.
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Barbuio, Marco Antonio Tozetto. "Efeitos da utilização de uma dieta comercial e dietas experimentais, nas formas seca e semi-úmida, no crescimento e composição corporal do robalo (Centropomus parallelus Poey, 1860)." Florianópolis, SC, 1999. http://repositorio.ufsc.br/xmlui/handle/123456789/80885.
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Dissertação (Mestrado) - Universidade Federal de Santa Catarina, Centro de Ciências Agrárias.Made available in DSpace on 2012-10-18T20:26:23Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-09T01:51:35Z : No. of bitstreams: 1 152703.pdf: 7855638 bytes, checksum: 3b40b078a717c425f851c124258c1927 (MD5)
O presente estudo foi realizado no Laboratório de Piscicultura Marinha da Universidade Federal de Santa Catarina, Florianópolis (SC) e teve como objetivo avaliar os efeitos da utilização de uma dieta seca comercial para salmonídeos e duas dietas experimentais formuladas: uma seca (9,3 % de umidade) e outra semi-úmida (38,6 % de umidade), no crescimento e composição corporal de juvenis de robalo, Centropomus parallelus. Os peixes, com peso médio inicial de 34,8 g, foram estocados em 9 tanques-rede (103 indivíduos por tanque-rede de 8 m³ ), instalados em viveiro de terra (água salobra) e receberam alimentação "ad libitum" três vezes ao dia, por 161 dias. O peso médio final foi 178,2 g, 195,2 g e 190,5 g para os indivíduos alimentados com dieta comercial, dieta experimental seca e dieta experimental semi-úmida, respectivamente. Não foi encontrada diferença significativa (P<0,05) no crescimento e composição corporal (peixe inteiro) em função do teor de umidade nas dietas experimentais. Os indivíduos que receberam as dietas experimentais tiveram um maior ganho em peso, entretanto, apresentaram um maior acúmulo de gordura e uma menor porcentagem de proteína corporal em relação aos peixes alimentados com dieta comercial. Os resultados obtidos mostram que o robalo tem um desempenho semelhante quando alimentado com dietas secas ou semi-úmidas. No entanto, é necessária a determinação das exigências nutricionais da espécie, a fim de se desenvolverem dietas balanceadas que garantam um bom crescimento desta espécie sem uma deposição excessiva de gordura nos indivíduos.
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Garcia, J?nior Jos? "Distribui??o espacial, forma??o de grupos, uso do h?bitat e ecologia comportamental de jovens de tubar?o lim?o, negaprion brevirostris (poey 1868), no arquip?lago de fernando de noronha." Universidade Federal do Rio Grande do Norte, 2010. http://repositorio.ufrn.br:8080/jspui/handle/123456789/17211.
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Made available in DSpace on 2014-12-17T15:36:36Z (GMT). No. of bitstreams: 1
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Previous issue date: 2010-05-03Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior
Lemon sharks, Negaprion brevirostris, are common in the Fernando de Noronha Archipelago, but detailed information about the species in this site is lacking. The aim of this study was to describe the spatial distribution, grouping behavior, habitat use and behavioral ecology of juvenile lemon sharks in the archipelago, and their interaction with some environmental and ecological factors. During 2006 and 2007, the presence and spatial distribution of juvenile sharks were quantified through scuba diving and snorkeling at several sites of the archipelago. In 2008 the habitat use of juvenile sharks was quantified through visual census while snorkeling along 300 x 8 m strip transects. During these transects the grouping behavior of lemon sharks was quantified by ad libitum. Results indicate that Fernando de Noronha Archipelago is used as a nursery area for lemon sharks, and the parturition occurs from November to April. Juveniles preferred using shallower areas available by the tide variation and formed groups only in the presence of adult conspecifics. This preference for shallower habitats and the group behavior probably are anti-predatory tactics used by juvenile lemon sharks, in response to the low availability of shelter and high predation risk of the studied areas. Quantifications of prey availability and predation risk of juveniles showed that, in general, lemon sharks are trading-off food by security and investing in sites with higher possibility of energetic return. Behavioral observations enabled to record juvenile carangid fishes following juvenile lemon sharks, remora host-parasite and juvenile sharks foraging on schools of herrings and octopuses. We also recorded the behavior of juvenile sharks following conspecifics of similar size, circling with two or three individuals and smaller individuals giving way to larger juveniles. When adults are present, juvenile lemon sharks are more social than solitary, indicating that predation is one of the factors that contribute to social behaviors of the species. Results also suggest that when grouped the juveniles have a hierarchical organization according to body size. Furthermore, observation of large adult females with several fresh mating bites and scars in the same habitats used by juvenile lemon sharks, indicates that Fernando de Noronha Archipelago is used as nursery and mating grounds by this species
Os tubar?es lim?o, Negaprion brevirostris, s?o comuns no Arquip?lago de Fernando de Noronha, por?m n?o existem informa??es detalhadas sobre a esp?cie na regi?o. O objetivo deste estudo foi descrever a distribui??o espacial, a forma??o de grupos, o uso do h?bitat e a ecologia comportamental de jovens de tubar?o lim?o no Arquip?lago de Fernando de Noronha, e sua intera??o com alguns fatores ambientais e ecol?gicos. A presen?a e distribui??o espacial dos tubar?es jovens foram quantificadas atrav?s de mergulhos aut?nomos e livres em diversas localidades do arquip?lago, durante 2006 e 2007. O uso do h?bitat foi quantificado durante 2008, atrav?s da execu??o de censos visuais de abund?ncia em transe??es de 300 x 8 m. Durante estas transe??es a forma??o de grupos de tubar?es lim?o foi quantificado atrav?s do m?todo ad libitum. Os resultados indicam que o Arquip?lago de Fernando de Noronha ? uma ?rea de ber??rio para tubar?es lim?o, com a parturi??o ocorrendo entre Novembro e Abril. Os jovens de tubar?o lim?o utilizam preferencialmente a zona mais rasa dispon?vel pela varia??o da mar? e formam grupos somente na presen?a de indiv?duos adultos de sua esp?cie. Possivelmente a maior utiliza??o dos h?bitats mais rasos e a forma??o de grupos s?o t?ticas anti-predat?rias utilizadas pelos jovens, diante da baixa disponibilidade de abrigos e do alto risco de preda??o das localidades estudadas. A an?lise da disponibilidade de alimento e do risco de preda??o dos jovens mostrou, de maneira geral, que os tubar?es lim?o priorizam o alimento sobre a seguran?a e que investem em locais com maior possibilidade de retorno energ?tico. A observa??o comportamental possibilitou o registro de peixes jovens da fam?lia Carangidae seguindo jovens de tubar?o lim?o, a rela??o de hospedeiro-parasita por r?moras e o forrageamento de tubar?es jovens sobre cardumes de sardinha e polvos. Tamb?m foi registrado o comportamento de tubar?es jovens seguirem outros indiv?duos de sua esp?cie de tamanho similar, realizar c?rculos com dois ou tr?s indiv?duos e de um indiv?duo conceder a passagem para outro indiv?duo de maior porte. Na presen?a de adultos os jovens de tubar?o lim?o s?o mais sociais do que solit?rios, sugerindo que a preda??o ? dos fatores que contribuem para os comportamentos sociais da esp?cie. Os resultados tamb?m indicam que, quando agrupados, os jovens apresentam uma organiza??o hier?rquica de acordo com o tamanho corporal. Al?m disso, a observa??o de grandes f?meas adultas com diversas marcas de mordidas e cicatrizes nas mesmas ?reas utilizadas pelos jovens de tubar?o lim?o indica que o Arquip?lago de Fernando de Noronha pode ser considerado tanto como uma ?rea de ber??rio como uma ?rea de c?pula para a esp?cie
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Rumsey, Lacy Martin. "Rhythm & intonation in free verse form : an assessment of the contributions of phonetics, focus-to-accent theory and literary history to the understanding of nonmetrical poetry, with readings in the work of William Carlos Williams, Allen Ginsberg and Jack Kerouac." Thesis, King's College London (University of London), 2000. https://kclpure.kcl.ac.uk/portal/en/theses/rhythm-and-intonation-in-free-verse-form--an-assessment-of-the-contributions-of-phonetics-focustoaccent-theory-and-literary-history-to-the-understanding-of-nonmetrical-poetry-with-readings-in-the-work-of-william-carlos-williams-allen-ginsberg-and-ja(0a9e2904-206d-46ab-86da-8249cec90fc2).html.
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Macauslan, John. "Schumann's music and Hoffmann's fictions." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/schumanns-music-and-hoffmanns-fictions(6204c093-4ed6-44c9-b992-08c19f3060e9).html.
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This thesis interprets four of Schumann’s works in the light of the Hoffmann fictions with which they seem to be associated. Unlike previous studies, it deals with each of the four works, treating them as aesthetic entities enhanced by literary relationships that are not primarily programmatic, nor primarily a matter of formal parallels. Each work emerges both in a new light and as it always was. Carnaval (1834-37) appears as a dizzying comedy of theatrical vignettes and character, in the spirit of the German literary understanding of Italian carnival (including in Hoffmann), and Fantasiestücke (1837-38) as a humorous sequence of dream images, resonating with literary tales of the artist’s development, not least those in Hoffmann’s Fantasiestücke. Kreisleriana (1838), a finished masterpiece, suggests improvisations on melodic fragments appearing also in popular tunes used both in trivial variation sets and in Bach’s Goldberg Variations – which figure in Hoffmann’s Kreisleriana as opposed emblems of the philistine and the profound. Nachtstücke (1839-40) creates from plain rondos a paradoxically unsettled set, expressive of profound mental disturbances explored by Hoffmann’s book of that name. I bring out in each work previously unexamined patterns of melody, tonality, metre, sonority and form, showing how these become threads expressive of drama, emotion or symbolism. Unusually, I do not take Schumann’s approach over the 1830s as static: increasingly powerful musical means gave the music greater independence from supporting words, and what Schumann called ‘poetic’ threads increasingly coincide with core musical processes. Equally unusually, I describe those processes as resonating simultaneously with Schumann’s titles, with his culture including Hoffmann, and with his concerns around the time of composition as documented in his letters, criticism, diaries and Mottosammlung. Unlike previous work the thesis treats its subject consistently at three levels. My approach to the interpretation of the individual works at the first level is consonant with Schumann’s aesthetics as described at the second: there I focus more sharply than previous treatments on his stated view that musical works can ‘express’ ‘remote interests’ including literature, and on how he thought that possible – points that, given sensitivity to contemporary connotations and to context, emerge from his writings. Finally, at a third level, I reflect on the approach in the light of strands of musicological and intellectual thought in Schumann’s day and since.
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Backer, Henry. "Two for Flinching." 2015. http://scholarworks.gsu.edu/english_diss/141.
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Two for Flinching is a manuscript of forty-four poems broken into three sections. The first section is centered around family and nature, the second is centered around love and relationships, and the third section is mainly poems inspired by various mythologies.
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Nobin, Brian Edward. "A study of the Afro-American oral tradition with special reference to the formal aspects of the poetry of spirituals." Thesis, 1991. http://hdl.handle.net/10413/6340.
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This dissertation is a study of the Afro-American oral tradition with special reference to the formal aspects of the poetry of spirituals. In the introduction. an attempt has been made to take a look at the value of oral tradition; the interplay between oral and written tradition; the use made of orality in a society that was denied conventional literacy; the concept and the definition of the term, “spiritual". The organization of the rest of the essay is as follows: The sections are divided into four chapters. The first chapter concerns the origins of Afro-American spirituals and the
anthropological foundations of the Afro-American oral style (anthropology of gesture). In addition, an attempt has been made to place the Afro-American oral tradition vis-a-vis the African oral tradition. The second chapter deals with key characteristics in the expressive phase of the Afro-American slave community with special reference to the dynamics of
language usage. In the third chapter, there is consideration in some detail on the Afro-American oral composer and the transmission of the spirituals in an oral style milieu. The fourth chapter investigates stylized expression and is devoted to analyses of mnemotechnical devices within the spirituals.
In the concluding chapter, an attempt has been made to take an overall look at Afro-American sacred poetic achievement. I must point out that it is not my intention to embark on any technical analysis of the music form and configuration of the spirituals - that is beyond the scope of this essay. In
including "representative" samples of spirituals (and portions of spirituals), I do not intend them to be seen as "islands unto themselves" but rather, each spiritual must be seen as part of the whole corpus of Afro-American sacred oral composition. The question may arise: "Why a study of the Afro-American spirituals when there is so much to be studied on the oral traditions of Southern Africa? My response would be that the spirituals fascinate me for I see in them their widespread influence on the Pentecostal and Charismatic movements in South Africa. The Gospel song, so beloved of Pentecostal congregations, is an heir to the Spiritual. An enquiry on the sacred music and performance styles (improvisation, extemporization, dance, handclapping, shouts, etc.) of Pentecostalism will reveal that much of the Afro-American oral style still exists within the fellowship of Black and, venture to say, all Pentecostal churches in South Africa with obvious nuances that vary from denomination to denomination. But, the spirited and lively sacred music is encouraged and preserved.Thesis (M.A.)-University of Natal, Durban, 1991.
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Moolman, Jacobus Philippus. "Autobiography of bone : an original cycle of dramatic poems researching the problematics of reconceptualisation of the formal boundaries between the genres of poetry and drama." Thesis, 2010. http://hdl.handle.net/10413/4662.
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Autobiography of Bone consists of a cycle of original dramatic poems and short poetic
dramas which investigate the problematics of a reconceptualisation of the genre-based
distinctions between poetry and drama. The work seeks to extend and then map the new
territory revealed to me as a result of my experiments with form, and with the
consequences that new forms have for content and meaning. The material in the cycle of
poems presents and explores a multi-layered and wide-ranging, rather than unitary,
response to issues of the body (specifically disability), memory and language. A
concluding scholarly essay, “Orthopaedia” – Understanding the Writing Practice”,
researches some of the theoretical and conceptual issues that informed the poems,
including the influence of verse drama and the contemporary long poem, in an attempt to
construct an archaeology of the writing process and the imagination of the writer.Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2010.
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Carter-Pounds, Arlene A. "Teaching reading through poetry using a sports format : an evaluation /." 1996. http://wwwlib.umi.com/dissertations/fullcit/9708587.
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Hoření, Vendula. "Současná česká poezie a její vnímatel." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-312814.
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Diploma Thesis Abstract: Contemporary Czech Poetry and its Perceiver Charles University in Prague Faculty of Education Czech Language and Litterature Department Vendula Hoření The introduced diploma thesis deals with the topic of contemporary Czech poetry. Its typical form and content are desired to be found. By "contemporary" is meant the period in which the materials for its realisation were collected, i.e. between spring 2010 and spring of the 2011th. Emphasis is placed on the perceiver and the way in which he can meet with poetry today. The hypothesis that the result of research will be revelation that certain contents and forms are timeless, but others only current, was confirmed. As a new content were found topics as responses to the actual phenomenas of virtuality, ecology and consumer society. Among the new forms of contemporary Czech poetry were classified: the project Poems on the Underground, anthology The Best Czech Poetry, competition in author recitation Poetry Slam and singer-songwriter meeting Open mic as taken from foreign models and Physical poetry of Petr Váša and in a certain sense also poetic improvisation of Jakub Foll as original contemporary Czech poetry.
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Domínguez, Pamela, and Cynthia Olocco. "De sabios, poetas y locos todos tenemos un poco. Otras formas de entender comprender el padecimiento subjetivo." Bachelor's thesis, 2021. http://hdl.handle.net/11086/20073.
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Tesis[Licenciatura]--Universidad Nacional de Córdoba, 2020La intervención pre-profesional fue realizada en el 2018 en el hospital de día en salud mental, donde asisten personas entre 18 y 60 años que presentan padecimientos psíquicos como la neurosis y la psicosis. Se abordó la problemática de Salud Mental de manera interdisciplinaria, junto con profesionales de psicología, psiquiatría, terapia ocupacional y profesores de yoga e italiano. A lo largo de la práctica, observamos que las dificultades que se le presentan a los sujetos/as en la reproducción económica, social, cultural, habitacional y familiar atraviesan y repercuten en el proceso de Salud-Enfermedad, en la construcción de la identidad, en la dinámica familiar, en la pertenencia a una trama relacional y en el acceso de recursos. Diseñamos estrategias de intervención´pon que respondan a la necesidad de la institución de construir un conocimiento multidimensional; y a los demandas presentadas por los/las sujetos/as y familiares en relación a la satisfacción de sus necesidades.
Fil: Domínguez, Pamela. Universidad Nacional de Córdoba. Facultad de Ciencias Sociales. Licenciatura en Trabajo Social; Argentina.
Fil: Olocco, Cynthia. Universidad Nacional de Córdoba. Facultad de Ciencias Sociales. Licenciatura en Trabajo Social; Argentina.
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Tsambo, T. L. (Theriso Louisa). "The theme of protest and its expression in S. F. Motlhake's poetry." Diss., 1999. http://hdl.handle.net/10500/16225.
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In the Apartheid South Africa, repression and the heightening of the Blacks' struggle
for political emancipation, prompted artists to challenge the system through their
music, oral poetry and writing. Most produced works of protest in English to reach a
wider audience. This led to the general misconception that literatures in the
indigenous languages of South Africa were insensitive to the issues of those times.
This study seeks firstly to put to rest such misconception by proving that there is
Commitment in these literatures as exemplified in the poetry of S.F. Motlhake.
Motlhake not only expresses protest against the political system of the time, but also
questions some religious and socio-cultural practices and institutions among his
people. The study also examines his selected works as genuine poetry, which does not
sacrifice art on the altar of propaganda.African Languages
M.A. (African Languages)
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Silva, Graça de Jesus Melo. "A poesia no ensino do português do 2º ciclo : estratégias comparatistas na promoção da leitura literária-formar leitores para a vida." Master's thesis, 2017. http://hdl.handle.net/10400.2/6928.
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Neste trabalho de Investigação-Ação, revelamos a relação intertextual da poesia com obras literárias e artísticas, nomeadamente: a pintura, a poesia visual e a música, tendo por base os preceitos da Literatura Comparada, mormente a intertextualidade e as relações intersemióticas que se operam no campo literário. No entanto, para melhor perspetivarmos a crucial relevância de formarmos leitores autónomos e para toda a vida, retrataremos o cenário social e educativo da leitura literária, nos dias de hoje. Não esqueceremos, contudo, a importância do papel do professor na promoção da leitura.
Seguindo o contexto social, relataremos os fatores que contribuem para a redução da importância da leitura literária e veremos as consequências dessa irresponsabilidade, expressas no crescente fenómeno de indiferentismo social e na insensibilidade face à dor do outro. De acordo com esses parâmetros, observaremos a supremacia da leitura literária na educação plena do leitor ativo, reflexivo, crítico e criativo.
Por conseguinte, na escola, é imprescindível que as estratégias de promoção da leitura literária estejam associadas às práticas comparatistas, de modo a promover o gosto pelo conhecimento, combater o atrofiamento da memória e, principalmente, para desenvolver valores essenciais à vida em sociedade.In this project of research and action we unravel the intertextual relationship of poetry with the artistic and literary work, more specifically: painting, visual poetry and music, having as a reference the precepts of Comparative Literature, predominantly the intertextuality and the intersemiotic relations which operate on the literary field. However, to provide a better perspective on the crucial relevance of educating readers to be autonomous for all their lives, we shall depict the current social and educational backgrounds of literary reading. Nevertheless, we must not also forget the importance of the role the teacher has in promoting the act of reading. Keeping in mind the social context, we shall not only report the factors which have contributed to the decrease in the importance of literary reading, but also see the consequences which are accompanied by such irresponsibility and are expressed in the ever-growing phenomenon of social indifference and in the insensitivity we experience towards other people’s hurt and suffering. According to those parameters, we shall observe the supremacy of literary reading in fully educating an active, thoughtful, critic and creative reader. Hence, it is essential that the literary reading promoting strategies at school are associated with the comparative practices, so as to promote the pleasure of acquiring knowledge, fight against memory loss or atrophy and specially to develop essential values to life in society.
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Havlátová, Bára. "Pozdější a zahraniční tvorba Josefa Macha." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-267896.
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The monographic thesis mainly solves poetry and prose of Josef Mach, the Czech writer, journalist and clerk. It watches literary progress of his poetics according to the era context, influenc of places, historical and social events and inspirations of other artists who surrounded him. The work look into the texts and lyrics by a diachronic and synchronic way. The section about his original works is followed by a chapter about translations of several novels, because he acted even on this literary field. Then the general outline of the reception of Mach's personality and works since the time of his life until today. The whole thesis is introduced by Mach's biography to which it returns in many topics because his works have an empiric character and it is closely connected to the life. The object of the thesis is to sum information about all these topics and give it as a base for future expert research.
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Byronová, Lucie. "Problematika lidské identity v tvorbě Federika Garcíi Lorky v kontextu krize evropského myšlení." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-338214.
Full textAbstract:
The thesis focuses on two plays and one poetry collection by Federico García Lorca; El público, Así que pasen cinco an͂ os and Poeta en Nueva York, which together form the New York cycle and represent a new and unique phase in his compositions both from the point of view of content and form. The thesis concentrates on several distinctive motifs and themes related to the problem of human identity; ie the motifs and themes which discuss how to understand the individual or the human existence. This topic is reflected in the cultural context of Lorca's age, demonstrating that the atmosphere of the era corresponded with the author's personal perspective. The interpretation of human existence is strongly determined by the moment of death, therefore, the representation of death in the works and the related motifs are discussed in the thesis. At the same time, the similarity of Lorca's perspective with the philosophical ideas of the era is taken into consideration, with the emphasis on the philosophy of Martin Heidegger. In this context, we also focus on the author's relation to Christianity and the use of the Christian motifs in his plays and poems. In the following chapters, the motifs of mask and form are analysed. The thesis concentrates on the problem of the social mask, but also on the question of...