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Marengo, Amy Elizabeth. "Shark Heart." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/73493.
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Shark Heart is a manuscript of poems that maneuver between fearlessness and tenderness at the drop of a dime. In the same way that many sharks need to survive by constantly swimming in order to extract oxygen from the water streaming between their gills, the heart muscle needs to constantly pump blood throughout a body to sustain life: there is no rest for either fish or organ until death. These poems, too, keep pushing forward; they are not afraid to explore the small beats of childhood and hidden desire, or the larger mysteries of illness and death.Master of Fine Arts
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Jewel, Peter James. "Poetry and Process : the Poetic Heart of the Person-Centred Encounter." Thesis, University of East Anglia, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520441.
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Cassel, Adrienne M. "Field Guide to the Heart." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307320455.
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Clemenzi-Allen, Benjamin. "Epic." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/983.
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This thesis consists of a collection of poems: two thematic-translations that engage source material for their composition and two anaphoric poems. “A Seeson in Heckk,” an epyllion (or mini-epic), engages Arthur Rimbaud's "A Season in Hell," as it echoes his syntax and translates some of his themes into a portrait of a troubled young speaker familiar but strange to Rimbaud's. “Love Poem,” the first anaphoric poem in the collection, explores the arc of a relationship through surreal, bizarre, and lyrical images that chart the experience of falling in and out of a tumultuous love affair. “THE BOOK OF CLAY” is composed in relation to “The Narrative of the Captivity and the Restoration of Mrs. Mary Rowlandson.” These poems form a surreal, pastiche, thematic-translation of the early American's accounts of her experience during the King Philip's War. “Transplant: Final Lines from a Poem Titled, Cardiology” also uses anaphora, while it explores emotional identity, authenticity, and an overused poetic trope: the heart.
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Mac, Caba Seamus. "The neutral heart : Irish poetry and World War II." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307544.
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Hall-Downs, Liz. "My arthritic heart : a collection of poetry; and, Making a writer : poetry, fiction, performance and illness /." [St. Lucia, Qld.], 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16739.pdf.
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Stout, Brianna P. "Tincture." Thesis, Virginia Tech, 2013. http://hdl.handle.net/10919/50809.
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The poems in Tincture want to understand and to be understood. Much of the work in Tincture concerns itself with making a connection, be it intellectual, emotional, or both, with the outside world. The speakers in many of the poems seek to explain, sometimes desperately so, their stories in ways that will allow them to be digested by both the reader and by the other characters that inhabit the worlds of the poems. Other poems concern themselves more not with the life of the speaker, but with the lives of others the speaker encounters: loved ones, students, people in the news, icons of popular culture, and animals. The speaker in these poems pushes for empathy as a way to make a connection -- between subject and speaker, between subject and reader, and, as a not-so-secret hidden desire, between speaker and reader.The poems that reach toward empathy do so by truly trying to feel what the subject of the poem is feeling. Unlike a sympathetic poem, which may just paint a picture of a subject\'s situation to elicit an emotional reaction, the empathetic poems in Tincture try to toil through a reasoning for the subject\'s thoughts, feelings, or actions. This strategy attempts to open the door toward understanding, both for the speaker and for the reader.
These poems freely admit things, which could label them as confessional. However, these confessions rarely result in catharsis, since the same troubles pop up again and again. Instead, these confessions come from a place of fear, perhaps the most pervasive emotion throughout the entire collection. If the poems air these fears and these observations, perhaps they can then be released into the world, tamed. Perhaps then there\'s the hope that they can\'t come back to haunt, though they inevitably do. It all circles back to the concept of connection, of a want to be an active participant in humanity and to invite readers to do the same.
Master of Fine Arts
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Blair, Kirstie. "Proved on the pulses : the heart in nineteenth century poetry, 1830-1860." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251433.
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Foxton, Nicholas. "Finding the space in the heart : primitivism, Zen Buddhism and deep ecology in the works of Gary Snyder." Thesis, University of Nottingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363688.
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Adams, Stephen D. (Stephen Duane). ""Looking into the Heart of Light, the Silence": The Rule of Desire in T.S. Eliot's Poetry." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc935756/.
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The poetry of T. S. Eliot represents intense yet discriminate expressions of desire. His poetry is a poetry of desire that extenuates the long tradition of love poetry in Occidental culture. The unique and paradoxical element of love in Occidental culture is that it is based on an ideal of the unconsummated love relationship between man and woman. The struggle to express desire, yet remain true to ideals that have deep sacred and secular significance is the key animating factor of Eliot's poetry. To conceal and reveal desire, Eliot made use of four core elements of modernism: the apocalyptic vision, Pound's Imagism, the conflict between organic and mechanic sources of sublimity, and precisionism. Together, all four elements form a critical and philosophical matrix that allows for the discreet expression of desire in what Foucault calls the silences of Victorianism, yet Eliot still manages to reveal it in his major poetry. In Prufrock, Eliot uses precisionism to conceal and reveal desire with conflicting patterns of sound, syntax, and image. In The Waste Land, desire is expressed as negation, primarily as shame, sadness, and violence. The negation of desire occurred only after Pound had excised explicit references to desire, indicating Eliot's struggle to find an acceptable form of expression. At the end of The Waste Land, Eliot reveals a new method of expressing desire in the water-dripping song of the hermithrush and in the final prayer of Shatih. Continuing to refine his expressions of desire, Eliot makes use of nonsense and prayer in Ash Wednesday. In Ash Wednesday, language without reference to the world of objects and directed towards the semi-divine figure represents another concealment and revelation of desire. The final step in Eliot's continuing refinement of his expressions of desire occurs in Four Quartets. Inn Four Quartets, the speaker no longer carries the burden of desire, but language at its every evocation carries the cruel burden of ideal love.
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BYINGTON, SILVIA ILG. "N THE HEART OF THE CITY: MEMORY, POETRY, ARCHITECTURE AND THE NARRATIVES ABOUT THE PARQUE DO FLAMENGO – (1950 – 1960)." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=36364@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O trabalho analisa relatos de memória, escritos poéticos e discursos urbanísticos sobre o Parque do Flamengo, construído no Rio de Janeiro entre os anos 1950 e 1960, para compreender o papel da imaginação e da linguagem em sua criação como artefato cultural na história da cidade. A implementação do plano urbanístico iniciada nos anos 1950 foi reelaborada na década de 1960, durante o Governo de Carlos Lacerda pelo Grupo de Trabalho, equipe multidisciplinar coordenada por Lota Macedo Soares e tendo à frente o arquiteto Affonso Eduardo Reidy e o paisagista Roberto Burle Marx. O jardim modernista carioca por eles projetado – obra paisagística e arquitetônica desdobrada em ambiente edificado, suas imagens e os discursos produzidos sobre ele – ganha significado na tese como forma cultural que articulou interpretações conflitantes da história expressas na cidade; que relacionou motivos míticos e históricos do jardim e da paisagem com métodos paisagísticos modernos; e que interconectou memórias e projeções de uma cidade imaginada. Entre os registros dessa obra coletiva, destaca-se a poesia de Elizabeth Bishop que recria as paisagens locais em novas imagens. Imaginar a cidade é ato poético, político e ético de seus habitantes, sempre um intercâmbio entre a dimensão subjetiva e a dimensão social. É a forma moderna de habitá-la: construí-la como cidade metafórica que conecta a experiência fugaz, fragmentária e conflituosa da vida metropolitana a alternativas possíveis de como as coisas poderiam ser.
This work examines memory narratives, poetical writings and urbanistic discourses about the Parque do Flamengo, built in Rio de Janeiro during the 1950s and 1960s, in order to understand the role of imagination and language in its construction as a cultural artefact in the city s history. The implementation of this urban plan was started in the 1950s and was reworked in the 1960s, during the Government of Carlos Lacerda by Grupo de Trabalho, a multidisciplinary team coordinated by Lota Macedo Soares and headed by the architect Affonso Eduardo Reidy and the landscape architect Roberto Burle Marx. This modernist carioca garden – an architectural and landscape work threefold unfolded as a constructed environment, its images, and the accompanying critical discourses – gains importance in this thesis as a cultural artefact that brought together conflicting interpretations of history expressed in the city; entailed mythical and historical motives from garden and landscape to modern landscaping methods; and was the very fabric of memories and projections of an imagined city. Among others historical records of this collective work, the poetry of Elizabeth Bishop recreates the local landscapes in new images Imagining the city is a poetic, political and ethical act of its inhabitants, ever an exchange between subjective and social dimensions. It is the modern way of inhabiting the city: building it as a metaphorical city that links the fleeting, fragmentary and conflicting experience of urban life to possible alternatives of the way things could be.
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Hsieh, Ann-Lee. "Sound iconicity and grammar of poetry in Du Fu's "The Journey to the North" and "Singing My Heart Out in Five Hundred Characters on the Way from the Capital to Fongxian County"." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2501.
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This paper is about the sound iconicity of the Late Middle Chinese entering tone in two of Du Fu's long narrative poems, "The Journey to the North" and "Singing my Heart out in Five Hundred Characters on the Way from the Capital to Fongxian County", as well as Du Fu's grammar of poetry in these two poems.
In poetry, rhyme is an arbitrary and 'visible' figure reiterated with regulation which forms an axis of sequence, and this axis will work jointly with all the other poetic elements—semantics, images, and grammar to form the whole of a poem. In these two poems, all the rhyme characters carry a voiceless —t ending, which is classified with —k and —p endings as the entering tone in Late Middle Chinese reconstructed by Edwin Pulleyblank. These voiceless stops are short, tense, and uncomfortable to utter; when they are repeated fifty and seventy times at the end of each couplet, it naturally brings about a strong, rough, and uncomfortable feeling which correlates with the feeling of suffering in both poems. It is sound iconicity, because an icon resembles the object it stands for in an immediate and concrete manner, and the —t ending rhyme characters do have the characteristics to make the reader grasp the feeling of suffering when she reads the poems.
In terms of Du Fu's grammar of poetry, I used Jakobsonian methodology and found how Du Fu's poeticity was created with lexical meaning and grammar. Although Classical Chinese does not have a huge grammatical repertoire (e.g., person, case, gender, finite, non-finite . . .) which can figure in a poem, this language still has its own obligatory categories that will provide for the 'grammar of poetry'. Classical Chinese is already known for its grammatical parallelism in poetry, because this language is extremely isolating and analytical. However, grammatical parallelism is little in these two poems, but there are different kinds of grammatical tropes. They are mainly anti-syntactic inversions interacting with semantics. I found Du Fu a fascinating artist of grammar; he may be anti-grammatical but never agrammatical.
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Litwak, Jessica. "My Heart is in the East: Exploring Theater as a Vehicle for Change, Inspired by the Poetic Performances of Ancient Andalucía." Antioch University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1432152428.
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Bottoni, Jennifer C. "The Heart's Portrait: An Emily Dickinson Fascicle for SATB Choir and String Quartet." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/200.
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The Heart's Portrait is a twelve movement composition for SATB choir and string quartet. The eight poems selected as the text for this work were penned by the eminent American poet Emily Dickinson. The text for the first movement, Dickinson's poem "If I can stop one Heart from breaking," succinctly describes the themes she commonly expounded upon in her writings: life, love, aching, pain, and purpose through faith. The remaining seven poems were chosen because they also explore these elemental themes. The main poem returns in variation throughout the piece, resulting in a modified rondo. To complement the four-part consort of voices, I selected a consort of strings in the form of a string quartet. The role of the quartet varies throughout the work from subservient to the vocal part, to dominant of the entire texture, to an equal partnership with the voices; these relationships are dictated by the text. Throughout the movements, I was able to explore a range of compositional techniques, both traditional and contemporary, while maintaining the primary purpose of unifying the text and music. This paper illustrates the initial compositional decisions made to begin the piece, the texts chosen and their placement within the work, the poet's history as it relates to the composition, a brief discussion on composers who have set Dickinson's words, and a thorough analysis of the work itself.
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Fendik, Erik. "tapestry: towards a newer 'parchitecture, that which is 'pataphysical." Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/83521.
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How do we design for a local community while respecting heritage and touching their hearts? We know through our minds and we understand through our hearts. Consciousness touches minds and experience touches hearts. Since phenomenology is the study of both consciousness and experience, this phenomenological architectural thesis is designed to touch both minds and hearts. Instead of replacement, we need embracement in order to root one's social identity. Only then we will elevate cultural heritage in any context, for example African.
This thesis includes a case study of light followed by a 'pataphysical design proposal for Tapestry: a new library at Mzuzu University in Malawi. The library proposal is introduced through poems and visual information in the following sets: metaphysical, physical, 'pataphysical. Through the inquiry in haiku writing style, this poetry collection evaluates corners, windows, light, intensity, form. Not only we propose an exciting and unique library design, but we also discover that dignity is the key to unlocking the spirit of light in any project, regardless of its form.Master of Architecture
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Graber, Margaret Ann. "These Hearts are Watermelon." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1389.
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This thesis examines the construction and deconstruction of home. These poems explore this theme largely through the poet's relation to geography and the natural world of the Great Lakes region, friends and family, experiences centered in human interconnectedness, traveling, the impact of technology, orientation in a cosmic space, the ways in which culture shapes and reshapes the one living inside it, and how in a 21st century world, one must still seek to show compassion for other living creatures. Through the utilization of metaphor, narrative, and imagination, this thesis journeys from the poet's home of Indiana to her ancestral roots of Ireland before returning to America with a more complex sense of identity as well as a renewed vision for the future.
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Wurth-Grise, Rosemarie. "Voices I Have Heard." TopSCHOLAR®, 2007. http://digitalcommons.wku.edu/theses/389.
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The poems in this thesis are an exploration of how two worlds can exist at once. The first world is the physical world as we perceive it through our senses and experience it through living. It is a cyclical world that begins with childhood, and moves toward adulthood, parenthood and death. In this world we go about the act of living. Yet it is in the second world, a more metaphysical one, that we are most alive. We often gain our knowledge of this world through observing and experiencing the natural world. It is a place in which we discover our true selves. This world exists like the mythical ethers; its boundaries are unmarked and the journey takes us into places of light and dark, of sound and silence. It is the coexistence of these two worlds that I attempt to explore in my writing. To access this metaphysical world requires a certain sense of surrender. This can be difficult since it seems to be our species' natural tendency to try to tame or control our environment. Therefore, we must not assume the attitude of a conqueror of nature. We must assume instead the role as a student of nature. That means being truly attentive, finding stillness and quiet, and being willing to listen to the world around us. Secrets can be told in bird song or in the shadows of oaks. My love for nature and writing began at an early age. As a teen I fell in love with poetry. I discovered the poetry of the Victorians, Pre-Raphaelites and Romantics in old anthologies stored away in my grandparent's attic. In these dusty bound volumes with their frayed covers, I discovered the lyrical language of Browning, Tennyson, and Keats. Delving into them instilled in me the appreciation for the beauty of words playing upon each other. In later years, teachers and mentors, like Peggy and Frank Steele, introduced me to the poetry of William Stafford, Ted Kooser, and William Carlos Williams. I was drawn to the straightforward economical use of language by Stafford. His style explored the inner and outer world in language accessible to the average reader. Kooser also used accessible language to describe the human condition. His portraits and narratives instilled validity to my own sense of narrative found in many of my poems. Finally, my poet husband, Dorsey Grice, introduced me to the poetry of Mary Oliver. Her incredible attunement to and observations of nature left me humbled. Somewhere between those early discoveries of the traditional poetic canon and my studies of the modern/contemporary poets I have found my own voice emerge. The blending of the periods has created in me the tendency to write with an economy of language, combined with what I hope are lyrical, melodic lines that are imbued with a subtle sense of rhythm. In writing this creative thesis I have divided the poems into two sections. In general they explore how we relate within physical, social and spiritual contexts. The first section is entitled "A Woman You Might Know" and deals more with the human experience of raising children, finding and losing love, grieving for the ill and dying, and searching for wholeness. The second section is called "The Sound of Trees" and deals with observations within the natural world. It includes poems dealing with the changing of the seasons, farm life, observing wildlife, and the spiritual world. Although each is divided according to a general topic, they both hopefully convey the presence of a dual world in which we live every day and are occasionally allowed a glimpse into. It's a place where the voices of our ancestors gather round us to share their stories and teach us something of value about ourselves.
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Gordon, John Matthew. "True Soundings: how do children respond to poetry they hear?" Thesis, University of East Anglia, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490666.
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The thesis responds to the question 'How do children respond to poetry they hear from recordings, and what are the implications for teaching?' It makes a case for the educational value of listening to poetry in primary and secondary classrooms, traCing the erratic treatment of heard poetry in the curriculum over the last century through to present frameworks. Through a method of Conversation Analysis, transcripts derived from audio-visual footage of classroom responses to heard poems are considered. These yield insights as to how pupils respond to poems they hear and how they share their responses in group discussion. On the basis of such analysis, the thesis argues that pupils respond to heard poems in ways not adequately acknowledged by pedagogy or in the curriculum. Important affective dimensions of response are revealed, as is the complexity of pupil response. The thesis suggests that responses to heard poems are oriented to some extent by the listener's gender in relation to the gender of the heard voice. The thesis argues that the findings have implications for pedagogy, the English curriculum, resourcing for teaching, the Citizenship curriculum and teacher education and professional development. Supplied by The British Library - 'The world's knowledge'
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McGillis, Shaun Krause. "If You Look Into The Cloud, Sometimes You Can Hear The Silence There." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/1319.
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The following thesis is a collection of original poems written by Shaun Krause McGillis under the direction of professors Michele Glazer, Primus St. John, and adjunct professor B. T. Shaw during the course of Shaun Krause McGillis's gradate studies at Portland State University.
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Kapela, Steven J. "The Boy with the Aluminum Hat." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1398358520.
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O'Quinn, Elaine. "Lessons of the heart: teaching and the poetic life of mind "full" possibilities." Diss., Virginia Tech, 1998. http://hdl.handle.net/10919/30436.
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Education should grow the delicate flowers of our emotional hearts and souls as well as the sturdy plants of our minds; it should awaken us to depths of which the mind alone is not capable. This study presents reasoning for the necessary nurturing of students as whole people. The style in which it is written is indicative of the content itself; unrestricted and constant in motion, much like a free verse poem, the study achieves its wholeness not by wild abandonment of form, but by the embracing of a particular design that is self-generated rather than regulated. The point is to show that just as our lives cannot fruitfully be assembled then categorized, neither can teaching which is linear and disembodied provide a meaning "full" education for teacher or student.
The themes of risk and vulnerability, self-knowledge, self-reflection, and self-hood, the incredible necessity to see our lives as large rather than small, and the overwhelming challenge to open up to instead of shut out the sounds of our lives are the strains that are herein taken up. Another time, another space and the issues would have presented themselves in an entirely different, but just as meaningful light. Again, the point made is how the unforeseen element of creativity rises up when thought is allowed to intertwine itself with the experiences of our lives. When allowed to self-generate, it connects all things to form a whole that once could only have been imagined. It integrates the private unfolding of a person with the concern of the public message to bear new beginnings to the conduct of things.
Though this study is about teachers and teaching, in its deepest moments it is equally about students. For without the active presence of students no study can begin to ask teachers to consider the on-going need to open not just their minds, but their hearts and souls to the young people with whom they daily interact. Without the active presence of students the spirit of a "poetic" life is reduced to the singular lyrical pieces of experience rather than the encompassing epic tale that we understand is the real truth of our educations. Without the active presence of students the work of a teacher is but an accounting ledger of isolated method, a reductive energy that in the end is much about product, but little about life.Ph. D.
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Winters, Sarah Fiona. "Me thoughts I heard one calling, talking to God in the poetry of John Donne, George Herbert, Christina Rossetti, and Gerard Manley Hopkins." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ50068.pdf.
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Brougham, Rose Marie. "Mother, do you hear me? Daughters forming subjectivities in Spanish American poetry (Olga Orozco, Argentina, Rosario Ferre, Puerto Rico, Maria Negroni, Gloria Gervitz, Mexico)." Diss., Connect to online resource, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3207749.
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Bruederlin, Gerhard. "It strikes like lightnings to hear him sing" : the pattern of contrast and union in Gerard Manley Hopkins' work and its relation to poetic creativity and religious mimesis /." Zurich : G. Bruederlin, 1987. http://catalogue.bnf.fr/ark:/12148/cb349359719.
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L'hopital, Servane. "Toucher le coeur : confrontations du théâtre et des pratiques de piété en France au XVIIe siècle." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20121.
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La confrontation du théâtre et de la liturgie est un lieu commun de la pensée. Il est un motif rhétorique récurrent chez les pères de l’Église pour définir a contrario et par surenchère le bon ethos du chrétien à l’Église. Ce tour de pensée ecclésiastique, typique de la synthèse augustinienne de la rhétorique antique et du christianisme, n’est pas seulement un héritage livresque au XVIIe siècle. Il est particulièrement pertinent à la vue des enjeux auxquels est confrontée l’Église catholique : elle doit répondre aux accusations protestantes, qui traitaient la messe de farce ; le théâtre renouvelé de l’antique se rétablit grâce au soutien du pouvoir, se sédentarise et devient un divertissement régulier. Cette banalité nouvelle fait de la Comédie, aux yeux des augustiniens, le lieu d’une « représentation vive » et continuelle des passions du monde, particulièrement de l’amour et de l’honneur : le théâtre apparaît comme une liturgie inversée. Là où les pratiques de piété sont censées amoindrir les passions et nourrir la foi, le théâtre excite les passions et étouffe l’esprit de prière. La querelle de la moralité au théâtre montre non seulement une concurrence morale, mais aussi psychique et affective. Les deux représentations prétendent susciter la présence d’esprit et « toucher » le cœur, voire lui « imprimer des mouvements ». La messe est qualifiée de « représentation vive du sacrifice de la croix », pendant laquelle le fidèle doit se remémorer vivement le sacrifice christique et sa signification grâce à une lecture allégorique, et se l’appliquer à lui-même. Par la considération et l’accomplissement de cérémonies, par la vocalisation des psaumes, le fidèle est invité à produire des « actes » du cœur pour s’unir à Jésus-Christ. Ce rapport au texte comme trace à suivre, et ce rapport au corps et à la voix comme media pour s’auto-exciter, expliquent pourquoi les comédiens professionnels sont condamnés par les dévots : ils excitent en eux les passions contraires à l’Esprit saint, ils rappellent des sentiments qu’un pénitent ne pourrait pas se remémorer sans « horreur ». La « représentation » est alors conçue comme un effort de remémoration.Le rétablissement du théâtre à l’antique nécessitait un discours pour en éclairer les visées et en légitimer l’existence dans une société chrétienne et monarchique. Traduire la mimesis aristotélicienne par « représentation » plutôt que par « imitation » rendait le théâtre beaucoup plus proche de la liturgie et lui ajoutait les connotations de vue, de présence et de mémoire. Le débat entre plaire et instruire est un débat entre théâtre-divertissement et théâtre-cérémonie. Incomber au théâtre la fonction d’instruire, c’était le rapprocher d’une prédication et de la messe, car instruire, signifiait instruire chrétiennement. L’échec de sanctification du théâtre des années 1640 fit conclure à une incompatibilité du théâtre avec la folie et la modestie chrétienne, mais la possibilité d’une instruction civique par le théâtre émerge à la fin du siècle. Le théâtre participe de la construction d’une morale laïqueThe confrontation between liturgy and theater is a topos of the discourses which reveal deeply-rooted issues of representation in the seventeenth century. This commonplace had been a recurrent rhetorical device in the patristic sermons, where it emphasized the differences between Christianity and paganism. It is vigorously reactivated in seventeenth-century France as the Catholic Church faces its Calvinist critics, who accuse mass of being a comedy. Profane theater becomes a regular and professional kind of entertainment in the city and at the court, thanks to the protection of the royal power. This is why it is seen by Augustinians as a recurrent “lively representation” of the values of the world, such as love and honor, which are contradictory to the celestial Christian spirit. Treatises against Comedy written by Christian zealots reveal not only a moral, but also an emotional and psychological competition between liturgical practices and theater. Both “representations” try to force the presence of the mind and to touch, or even to print, the heart. The mass is then qualified as the “lively representation” of the Passion of the Christ, during which Catholic prayers must commemorate the mystery of divine sacrifice. By considering and acting out ceremonies, by vocalizing prayers, the believer is invited to produce certain acts of the heart and to unite with Christ, applying the Christ’s sacrifice to himself. Thus, the believer can be assimilated to an existential comedian on the divine stage : he actively involves his sensibility in the imitation of the great Christian model, by entering into the spirit of the psalms. This relationship to the text as a vestige to follow, this use of the voice and the body as mediums to excite devotion, explain the condemnation of the professional comedian by the Christian zealots (dévots). Indeed, the comedian is seen as someone who excites his own passions, playing a dangerous game with his heart and reminding himself of former worldly passions which can only lessen his faith.The reestablishment of theater questions the legitimacy, the definition and the goals of this art in a Christian society. Translating mimesis by “representation” and not “imitation” brought the theater closer to the liturgy. The discourses on theater in the 1620s and 1630s show that the authors tended to see a memorial, reiterative and visual dimension in theater that was not present in Aristotle. The debates finally conclude on the definition of theater as an honest form of entertainment rather than as a living form of instruction, namely because the latter was the responsibility of predication and mass. Saint Thomas could justify theater as a way of merely releasing the mind without interesting the heart or touching the soul ; at that time, indeed, instruction meant Christian instruction. In the 1640s, to please the devout Spanish queen Anne of Austria, several playwrights did attempt to call back the theater to its former institutional position by assimilating it with religious ceremony and creating sanctified tragedies. But this attempt failed for both poetic and political reasons. The disposition of the spectators in the city was not to be instructed. The theater was finally recognized as incompatible with Christian folly and modesty, but slowly participated in the formation of a secular morality in a new civic sphere
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Trnková, Barbora. "Rozklad černé, technika nedůsledného překládání Světla." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2012. http://www.nusl.cz/ntk/nusl-232329.
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Im interested in the topic of praying machine, because I want to analyze aspects of photography and its functions. It's known, that the reality is manipulated by photography. Bud we can also say, that the relationship between reality and photography is neutral in fact, that the manipulation is made by our interpretation of photography. The change of the reality can be realized just in the dialog between photography and reality. Can it be, that the mechanization change into the will? Does it prays praying mill or the buddhistic monk, who rotates the mill? When he believes into it, is it enough? Or is it enough if believes who watch the monk with his mill? ... The computers from he place A are "praying" the prayers from the place B. With Tomáš Javůrek we collaborated with Vladimír Veselý and Radek Lát to create the Game for re-articulation our reality on the base of the revision of our faith.
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Cohen, Lyndsey Kara. "Head Heart Hand." 2008. https://scholarworks.umass.edu/theses/135.
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Hsu, Ling-Yu, and 許鈴玉. "A Study on Digital Activation of Taiwan Poetry and Acculturation of Heart Education." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/80884946222789218773.
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碩士南榮科技大學
工程科技研究所碩士班
103
Each unique culture in the world has its own meaning of existence. Therefore, UNESCO formulates "World Cultural and Natural Heritage Convention" in order to the global promotion of cultural heritage. It inspired the growing importance of individual cultures, making "community museum", "Digital Museum" and integrated and built a local characteristics cultural tour of wisdom. The toban that is on the cloud wall in the Yanshui zone "Taiwan poetry Road" shows the Taiwan centenary representative Psalm and becomes the highlights of Taiwanese literature. In this study, I construct digital "Taiwan poetry community museum"on the Internet for research purposes, and use digital technology activating"Taiwan poetry road". Let people get close to his hometown by understanding it and take better care of it. The study also integrates into the "School-based curriculum" design, combines with the local culture to implement a "Heart education" to enhance students' cultural awareness, and establishes a taste of life. Activate the digital creative bonus Psalm Taiwan by using advanced information technology. With different themes to collate the toban poem in "Taiwan poetry Road" , I compiled a vivid digital multimedia, through a variety of poets writing to a deeper understanding of their own hometown.To promote the cultural characteristics of "Taiwan poetry Road", build Google Maps information integration platform. "visit on Taiwan poetry Road with friends " explained the use of APP, and describes the history of Taiwan poetry road, geographical features and activities. "Singing poetry music together" introduces from the shallow to the deep toban poetry and singing it. "Memorable poetry iii road will sing" views the arts in Taiwan poetry road. "Roaming on Taiwan poetry road without vulgar " can plan a journey through the information platform easily, roaming famous literary trail, and share thoughts and feelings on the internet. Let the essence of local culture to keep up with the trend of creative collection times. By using Internet to spreading the unique charm of Taiwan poetry road, let people know Taiwan poetry road. Taiwanese people living in here. Poets have enough the power to shake the mind by Taiwan rich emotion. Increase peoples understanding and interest in literature. It is by the power of culture to achieve the purpose of promoting local economic prosperity. Taiwan poetry road elegance always be retained.
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Lapum, Jennifer Lynne. "Patients' Narratives of Open-heart Surgery: Emplotting the Technological." Thesis, 2009. http://hdl.handle.net/1807/17789.
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The steady increase of technology has become particularly ubiquitous in environments of heart surgery. Patients in these environments come into close contact with technology in its many guises. Often, practitioners may be deterred from engaging with patients because technology and the associated routines of care become the focus. As a result, it is important to understand how patients make sense of the technological situations encountered during treatment and recovery with attention to the constitution of identity and emerging moral issues. A narrative methodology was employed to examine patients’ experiential accounts of the technological in open-heart surgery and recovery. Sixteen patients were interviewed 3-4 days after surgery and 4-6 weeks after discharge, in addition participant journals were employed.
Study results pointed to the technological as the dominant discourse in heart surgery and recovery, strongly organizing health care practices and patients’ recovery. These discursive influences shaped participants’ stories resulting in two temporal shifts of authorial voice. Authorial voice reflects the dominant discourse and structured how stories unfolded. The first temporal shift exhibited how technology acted as the authorial voice, structuring stories of the preoperative and early postoperative period. Although participants were the narrators of their own stories, they were strongly influenced by the dominant discourse of the technological and its
associated dimensions of care. Participants’ stories revealed how patients were at the centre of activity, but passive, universal and undifferentiated. Although technology continued to influence stories of the later postoperative period and recovery at home, there was a shift of authorial voice to participants. Narratives reflected how the technological was incorporated into participants’ daily lives, but their stories included more personal elements rooted in their own particularities.
Study implications involve a critical uptake of technology that emphasizes the balance between technologically- and humanistically-focused practices in heart surgery and recovery. A key implication is the critical need to encompass affective and social dimensions of patients within the technologically-driven practices of heart surgery. Of great significance is how practitioners, particularly nurses, can act as supporting characters in helping with transitions of authorial voice from the technological back to the participant.
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Simon, Francine. "Shadow sounds : an original collection of poetry and an essay on questions of femaleness and diaspora in Meena Alexander's Illiterate heart." Thesis, 2013. http://hdl.handle.net/10413/11321.
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Shadow Sounds: an Original Collection of Poetry and an Essay on Questions of Femaleness and Diaspora in Meena Alexander’s Illiterate Heart.
The thesis comprises two parts: an original collection of poetry entitled Shadow Sounds, and a critical essay exploring the issues of diaspora and femaleness in Meena Alexander‟s Illiterate Heart. Shadow Sounds is a compilation of poems which examines the interrelations of a South African Indian familial structure, the emergence of a strong female sexual identity, and the open, even experimentally processual approach which influences the exploration of lyric voicing. The critical essay on Alexander investigates two major thematic concerns in the collection Illiterate Heart, namely, diaspora and gender. I postulate that the diasporic experiences of the writer have inflected all aspects of her identity, occasioning both rhizomatic compositions and the ongoing composition of a dispersed subjectivity. Alexander‟s hypothesised „selves‟ are observed and identified as constantly shifting and changing throughout Illiterate Heart, and effectively recast the popular conceptualisation of identity as singular and coherent.M.A. University of KwaZulu-Natal, Durban 2013.
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Rachel, Larabee. "(En)Compassing Heart: A Youth-led, Grassroots NGOs Navigation Towards Sustainability." Thesis, 2009. http://hdl.handle.net/1807/18120.
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(En)Compassing Heart explores and documents the organizational journey of POR AMOR Community Enhancement Initiatives. POR AMOR is a current, Toronto based, youth-led, non-profit organization I co-founded with three other young women in 2003. POR AMOR initiatives focus on youth empowerment and specifically helping young people to make responsible transitions into adulthood and become active leaders in their communities.
Through the use of arts-informed methodological practices, this project is constructed as a modern narrative, infused with spoken-word poetry, to track the journey of a young girl from her passion for the arts to becoming an empowered individual within her community. The young protagonist is representative of the journey of POR AMOR, our journey as young people navigating our way to meaningful work in communities. The mission of POR AMOR is to promote and facilitate art-based youth empowerment initiatives in local and international community contexts.
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Loewer, Michaela. "later you'll say you didn't hear what i said." 2019. https://scholarworks.umass.edu/englmfa_theses/94.
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These poems seek to explore the trauma of breaking up, the falling in and out of complicated relationships, and the toll that takes on the body, physically and in terms of identity or self-understanding. The sentiment isn’t meant to be stated explicitly or outright, but instead insists itself via images, language, and the surreal. Dreams play a big part in this series, as do death and love (and the conflation of the two). By moving in and out of dream-like poems, in addition to playing with language and syntax in others, these poems seek to muddy the real and the not-real in order to represent the muddying of emotions experienced when grappling with relational trauma. These poems aren’t so much concerned with a consistent or clear narrative as they are with revealing their own hunger– and, of course, seeking to alleviate that hunger.
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Filler, Christopher Stephen. "Heart knowledge: towards (w)holistic ecoliteracy in teacher education." Thesis, 2013. http://hdl.handle.net/1828/4503.
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Despite repeated calls internationally, nationally and provincially to place the development of ecoliteracy as a curricular priority, there continues to be a lack of attention provided towards this goal, in particular opportunities for direct contact with the natural world in terms of fostering ecoliteracy in student teachers (Tuncer, 2009; Davis, 2009, Gough, 2009, Beckford, 2008; Blanchet-Cohen & Elliot, 2011). Teachers play key roles in advancing environmental education efforts and the environmental literacy of future generations. Insufficient teacher preparation has been identified as one factor in the weakness of environmental education efforts and environmental education curriculum (Beckford, 2008; Lin, 2002; Knapp, 2000). Furthermore, adequate environmental education preparation of students in teacher-training programs is essential for helping future teachers design and implement effective environmental education curriculum (Cutter-Mackenzie and Smith, 2003; Mc Keown-Ice, 2000; Spork, 1992)..Future generations of students need to begin to perceive themselves, once again, in terms of being connected to a larger story which includes the more-than-human world. I argue that education needs to play an important role in that re-connection, and that teacher education, as a fertile place of in-betweenness, can represent an important step toward that goal. Using a combination narrative and phenomenological inquiry, I explore the storied insights of ten student teachers as they struggle to navigate the tensions, disruptions and opportunities that form the waters between their nature-self and their teacher-self. Along with a questioning of current conventional approaches to teaching ecoliteracy in schools, the Aboriginal concept of “heart knowledge” (Aluli-Meyer, 2008) is provided as a way of knowing which is congruent with the aims of an holistic ecoliteracy within teacher education.Graduate
0727
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cfiller@uvic.ca
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Chen, Chia-Ying, and 陳家瑩. "A Description of the Animated Short ”Ruins of Heart” to Research and Study on Poetic Films." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/37449704787819375121.
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碩士國立臺南藝術大學
動畫藝術與影像美學研究所
100
The Art of an animation work is about time, film, performance, and esthetics. For independent animation creating is to reflect the artist himself. The animation short "Ruins of Heart" 's main story is about lonely and losing of love. It represents the distance to disillusion the love, and makes the visual of this short looking poetic. Therefore, in the Chapter one, I discussed how my study of animation in the graduate school, in the idea, and art style became the starting of animated short film creation. The second chapter, I analyzed the visual art, story composition, and the work skills of my film “Ruins of Heart.” Chapter third discuss the techniques of visual performance on films. The final chapter is a summary of previous chapters and a comment of my personal sentiment of animated creation, especially to talk about the animation filmmakers in Taiwan how to find way out to the future as conclusion.
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Hong, Tzu-Wei, and 洪子薇. "Writing Typology and Emotional Yearning in Shen Chi-Feng’s“Four plays of the Red-Heart Poet”." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/48636179684995963295.
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Hulme, Thérèse. "Pastoral care and the challenge of poverty : when opening hearts and minds create possibilities in a marginalised school community." Thesis, 2009. http://hdl.handle.net/10500/3021.
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In the „coloured‟ community of Scottsville in the Western Cape, the historical legacy of political violence and abuse, combined with the current social hierarchies of violence, control and abuse, have serious consequences for Scottsville‟s young people. These traumas and the associated discourses create a culture of fear, distrust, hopelessness, humiliation and silence amongst the majority of the young people.
I have employed feminist-poststructuralist analyses in order to grasp the complex nature of the challenges of „coloured‟ poverty. Foucault‟s analyses of power relations also offered this research ways to critique pastoral power. Because of Foucault‟s analyses, I became aware that „coloured‟ people‟s experience of poverty and invisibility could not be separated from my own experience of the power of privilege and visibility. The operation of unjust power relations in the „coloured‟ community therefore compelled me to use my education and privileges to work for the restitution of the voices and of relational and physical possibilities in the lives of „coloured‟ young people. What started out as a research project became a cross-cultural journey of reparation and of my own humanisation. I argue that the praxis of embodied solidarity with the „other‟ is the challenge that poverty ultimately poses to people of privilege and to the ways in which theology defines itself.
In doing the work of reparation I was supported by the relational theme of solidarity with the marginalised provided by a feminist theology of praxis. The knowledges of the women in the community in particular served as resources of faith.
The research methodologies I used in this research combined the practices of narrative therapy, creative writing, mentoring and drama. The purpose of these methodologies was to invite young people into various meaning-making processes which enabled them to become the agents of their own lives and of a culture of possibility. Derrida‟s work on deconstruction and the aporia provided this research with a framework for the theory of possibility. Through the methodologies of networking and advocacy, other people have joined us in going beyond the physical and relational limitations of poverty to create possibilities for the young people and their schools.Practical theology
D. Th. (Practical Theology)