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Dissertations / Theses on the topic 'Historical poetry'
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Hutchison, Peggy J. 1955. "Palestinian resistance poetry and the historical struggle for liberation." Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/278065.
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Since the late nineteenth century, modern Palestinian resistance poetry has been an expression of the Palestinian peoples' national culture and their historical struggle for self-determination and a homeland. This study examines Palestinian resistance poetry written during the ten year period following the June War of 1967, which tripled the land area of the state of Israel. English translations of three prominent Palestinian poets: Fadw a T uq an, Mahm ud Darwish, and Samih al-Q asim, are preceded by commentaries on the history of Palestinian poetry prior to 1967, and on the post-1967 occupation of Palestine. The poetry is analyzed according to four themes: the identity theme, the wound theme, the freedom fighters, and woman's place. Through the study of Palestinian resistance poetry in its historical context, the reader may develop a deeper understanding of the relationship between Palestinian national culture and the struggle for a homeland.
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Slagle, Judith Bailey. "Joanna Baillie and the Poetry of Intellectual and Historical Romanticism." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/459.
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Book Summary: The Encyclopedia of Romantic Literature is an authoritative three-volume reference work that covers British artistic, literary, and intellectual movements between 1780 and 1830, within the context of European, transatlantic and colonial historical and cultural interaction. Comprises over 275 entries ranging from 1,000 to 6,500 words arranged in A-Z format across three fully cross-referenced volumes Written by an international cast of leading and emerging scholars Entries explore genre development in prose, poetry, and drama of the Romantic period, key authors and their works, and key themes Also available online as part of the Wiley-Blackwell Encyclopedia of Literature, providing 24/7 access and powerful searching, browsing and cross-referencing capabilities
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Brown, Kevin. "Liturgical Calendar: Poems." Digital Commons @ East Tennessee State University, 2014. http://amzn.com/1498203752.
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"Using the structure of the liturgical calendar and the lives of the saints for inspiration, Kevin Brown explores not only faith, but subjects ranging from love to childhood and from grammar to grace. The saints' backgrounds serve as metaphors for our lives today, as we struggle with our mortality and our morality. In these poems, Brown is able to laugh at himself and his failings while reminding us of our own. He points out where our various approaches to faith make us better people and where we fail to follow what we tell others to do. In these poems, the miraculous becomes ordinary even as ordinary events and people are imbued with the sacred, granting readers hope for themselves and for the world."--BACK COVERhttps://dc.etsu.edu/alumni_books/1007/thumbnail.jpg
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Howard, William Scott. "Fantastic surmise : seventeenth-century English elegies, elegiac modes, and the historical imagination from Donne to Philips /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/9527.
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Schwab, Ulrike. "The poetry of the Chartist movement : a literary and historical study /." Dordrecht : Kluwer academic publ, 1993. http://catalogue.bnf.fr/ark:/12148/cb35575211s.
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Pinnock, William. ""To learn how to speak": a study of Jeremy Cronin's poetry." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/d1021038.
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In the chapters that follow, the porous boundary between the public and the private in Jeremy Cronin’s poetry is investigated in his three collections, Inside (1983), Even the Dead: Poems, Parables and a Jeremiad (1996) and More Than a Casual Contact (2006). I argue two particular Marxist theorists are central to reading Cronin’s poetry: Bertolt Brecht, and his notion of the Verfremdungseffekt, and Walter Benjamin and his work on historical materialism, primarily the essay On the Concept of History / Theses on the Philosophy of History (1940). Both theorists focus on the work of art in a historically contextualized manner, which extends the challenge to the boundary between the public and the private. Their work is underpinned by the desire to draw out hidden narratives occluded under the grand narratives of history and capitalist ideas of progress. I argue that these are the major preoccupations in Cronin’s oeuvre as well. As such Cronin’s poetry may be seen to write against a perspective that proposes a linear conceptualisation of history. The poetry therefore challenges the notion that art speaks of ‘universal truths.’ Such ideas of History and Truth, if viewed uncritically, allow for a tendency to conceive of the past as unchanging, which subconsciously promotes the idea that social and political realities are merely logical evolutionary steps. I argue that Cronin’s poetry is thus purposefully interruptive in the way that it confronts the damaging consequences of the linear conceptualisation of history and the universal truth it promotes. His work attempts to find new ways of connection and expression through learning from South Africa’s violent past. The significance of understanding each other and the historical environment as opposed to imposing perspectives that underwrite the symbolic order requires the transformation rather than the simple transferral of power, and is a central focus throughout Cronin’s oeuvre. This position suggests that while the struggle for political freedom may be over, the necessity to rethink how South Africans relate to each other is only beginning. Chapter One will focus on positioning Cronin, the poet and public figure, in South African literature and literary criticism. In this regard, two general trends have operated as critical paradigms in the study of South African poetry, namely Formalism (or ‘prac crit’) and a Marxist inflected materialism, which have in many ways perpetuated the division between the private and the public. This has resulted in poetry being read with an exclusive focus on either one of these two aspects, overlooking the possibilities of dialogue that may take place between them. Cronin’s perspective on these polarised responses will be discussed, which will illustrate the similarity of his position to Ndebele’s notion of the ‘ordinary’ which suggests a way beyond these binaries. This will lead to a discussion of how South African poets responded to the transition phase, suggesting that the elements of the polarisation still remained. Considering the major influences and paradigms when reading Cronin’s oeuvre provides a foundation for the following three chapters. These include Cronin’s use of Romanticism, Bertolt Brecht and the V-Effekt and Walter Benjamin’s perspectives on historical materialism. In addition to these three theoretical paradigms, the relevance of Pablo Neruda’s poetry to Cronin’s work is also foregrounded. In Chapter Two, the focus will be on Cronin’s first collection of poetry, Inside, concentrating on Cronin’s use of language as a way of constructing poetry in the sparseness of the prison experience. This will show an abiding preoccupation of learning to speak in a language that considers the material context out of which it emerges. In this regard, the poems “Poem-Shrike” “Prologue” and “Cave-site” are analysed. In addition, one of the central poems in Cronin’s oeuvre, “To learn how to speak […],” will be examined in order to illustrate how the poet extends this project on a meta-poetic level, asking for South African poets to ‘learn how to speak’ in the voices of South African experience and histories. I will show how this is linked to Cronin’s “Walking on Air” which illustrates how the V-Effeckt recovers the small private histories through re-telling the life story of James Matthews, a fellow prisoner incarcerated for his anti-apartheid activism, revealing how this story is intimately connected to the public sphere. In Chapter Three, Cronin’s second collection: Even the Dead: Poems, Parables and a Jeremiad will be examined. In the poem “Three Reasons for a Mixed, Umrabulo, Round-the-Corner Poetry” Cronin resists inherited Western poetic conventions by incorporating and subverting versions of the Romantic aesthetic, arguing for poetry to be immersed in South African multi-lingual and multi-cultural experiences. “Even the Dead” reveals how Cronin uses Walter Benjamin’s perspectives on historical materialism to confront amnesia. In terms of the themes established in “To learn how to speak […]”, the poem “Moorage” demonstrates how the public and private can never be separated in Cronin’s work. The final section of this chapter will examine how Cronin responds to Pablo Neruda’s poems “I am explaining a few things” and “The Education of a Chieftain,” and how these poems challenge narratives that privilege the ‘great leader’ instead of the so-called smaller individuals’ stories. Chapter Four examines selections from Cronin’s third collection, focusing on Cronin’s use of the automobile, charting an ambiguous trajectory through the ‘new’ South Africa. The examination of the poems “Where to begin?”, “Switchback” and “End of the century - which is why wipers,” all attempt to include individuals left on the margins of the narrative of global freeways and neo-liberal capitalist progress. The poems present an interrogation of how ‘vision’ is constructed. This will show that the poetry responds to the experiences of the marginalised under these grand narratives in a primarily fragmentary and interruptive manner. This in effect constitutes the culmination of Cronin’s poetic journey and the search for new ways of envisaging South Africa’s future and finding a new language with which to speak it.
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Just, Melanie Maria. "Jonathan Swift's "On poetry : a rapsody" : a critical edition with a historical introduction and commentary /." Frankfurt am Main : P. Lang, 2004. http://catalogue.bnf.fr/ark:/12148/cb39265551p.
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Kuutma, K. "A Sámi ethnography and a Seto epic : two collaborative representations in their historical contexts /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/6583.
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Wilson, Sue. "The poetry of architecture' the historical and theoretical roots of the Swiss garden cottage (1760-1864)." Thesis, University of Bristol, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529873.
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Saavedra, Casco JoseÌ Arturo. "Swahili poetry as a historical source : utenzi, war poems and the German conquest of East Africa, 1888-1910." Thesis, SOAS, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289839.
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Saavedra, Casco José Arturo. "Swahili poetry as a historical source utenzi, war poems, and the german conquest of East Africa, 1888-1910 /." Online version, 2002. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.289839.
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Ming, Yau-yau. "Qing poetry on Ming a historical perspective focusing on the writing on Ming Yuefu = Qing zhao yong Ming shi ji de shi xue shen shi : yi Ming yue fu de zhuan shu wei zhong xin /." Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B44204723.
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Anderson, Robin. "Bridging the Past and the Present: The Historical Imagination in the Criticism and Narrative Poetry of C. S. Lewis." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/25482.
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C. S. Lewis is best known as the author of The Chronicles of Narnia, but Lewis’s poetry tends to be treated separately from his other works, or as an antecedent to his more famous prose works. This thesis shows that Lewis’s paradoxical views of literary history, cultural death, reason and imagination are reflected in his narrative poems. George Watson says that Lewis was “a paradoxical thing, a conservative iconoclast, and he came to the task well-armed” (1). He is both a traditionalist and a rebel against his times. I explain Lewis’s paradoxes in terms of the concepts of history, memory, reason and imagination, and show that Lewis’s position was a negotiation of his own historical and cultural context. Lewis’s poems and scholarly work indicate that his approach to historical terms is first to underline divergence, and then to emphasize a use of seemingly polarized terms in order to unify them.
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Fraser, Bruce L. "Word order, focus, and clause linking in Greek tragic poetry." Thesis, University of Cambridge, 1999. https://www.repository.cam.ac.uk/handle/1810/219499.
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The thesis comprises an investigation of three aspects of sentence structure in Classical Greek (henceforth CG) dramatic poetry: order of the main sentence elements (subject, verb, and object) within the clause, the emphatic position at the start of the clause, and the structure of inter-clausal linking. It is argued that these three features, usually considered separately, are interdependent, and that intra-clausal word order is directly related to the structure of compound and complex sentences. The discussion undertakes a systematic survey of subject, verb, and object order in a corpus of texts, proposes an explanation for the observed order, and develops a model which explains how prominence within the clause is exploited in clause linking to produce the complement structures observed in Homeric and tragic complementation.
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Leahy, Sean. "As One Who From a Volume Reads: A Study of the Long Narrative Poem in Nineteenth-Century America." ScholarWorks @ UVM, 2019. https://scholarworks.uvm.edu/graddis/1065.
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Though overlooked and largely unread today, the long narrative poem was a distinct genre available to nineteenth-century American poets. Thematically and formally diverse, the long narrative poem represents a form that poets experimented with and modified, and it accounted for some of the most successful poetry publications in the nineteenth-century United States. Drawing on contemporary theories of form and situating these poems within their literary-historical context, I discuss how our reading practices might be shaped by a greater attentiveness to the long narrative poem. My analysis will focus upon a small set of poems from across the nineteenth century, centering on works by Lucy Larcom and Henry Wadsworth Longfellow. More than mere recovery, this project aims to illuminate a tradition in which poets ambitiously melded genres, claimed poetry’s place to shape public discourse, and thought deeply about the reading practices available to their audience. Along the way, I consider how the dominant critical categories in the study of poetry have occluded these poems, and what these poems might offer in terms renewing or revitalizing our analytical tools and concepts.
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Foster, Benjamin Thomas. "HISTORICAL INTIMACY: CONTEMPORARY RECLAMATIONS OF AFRICAN AMERICAN HISTORY IN THE DRAMA, POETRY, AND FICTION OF SUZAN-LORI PARKS, NATASHA TRETHEWAY, AND COLSON WHITEHEAD." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/dissertations/1066.
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Three contemporary authors – Suzan-Lori Parks, Natasha Trethewey, and Colson Whitehead – within the African American Literary Tradition explore relationships to history in light of a dominant rhetoric that represents African American history through a white, hegemonic lens. In Parks’ The America Play, Trethewey’s Bellocq’s Ophelia, and Whitehead’s The Intuitionist, these authors comment on historical representation through such symbols as iconic figures like Abraham Lincoln, photographs, and elevators as starting points to explore the possibility of an independent space for African American history. Rather than remarking on just the representation of the artifact, however, the authors enter a conversation on how history is remembered and experienced. Parks, Trethewey, and Whitehead each form their own expression on historical representation; in each case, their works address the ability, or inability, to achieve historical intimacy amidst a push back from hegemonic narratives in the public eye. Historical intimacy, as the leading concept of the dissertation, refers to developing a close proximity to history not as a mere representation but as lived experience. Parks sees historical insight developing only through brief moments of intimate contact, if at all. Trethewey imagines personal, even sensual, familiarity with the subjects of her poems as a way of breaking through social frames and learning to connect with the past. Whitehead works through paradoxes to dissolve representational patterns of discourse, like verticality, and reach for a post-rational space wherein both open historical possibility, which stresses self-reflexivity, and a foundation in a “real,” experienced history unlock the opportunity for the construction of an intimate history. Although no author presents historical intimacy as an achieved goal, their works suggest varying degrees of potential and connection.
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Stryer, Steven E. "The past/present topos in eighteenth-century English literature : a pattern of historical thought and its stylistic implications in historiography, poetry and polemic." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442909.
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Schoesler, Matthew. "The Macaw in the Supermarket." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337085313.
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Spooner, Kaleigh Jean. ""History Real or Feigned": Tolkien, Scott, and Poetry's Place in Fashioning History." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6476.
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Most critics of The Lord of the Rings correlate Tolkien's work to ancient texts, like Beowulf, the Elder Edda, and medieval romances. While the connection between these traditional materials and Tolkien is valid, it neglects a key feature of Tolkien's work and one of the author's desires, which was to fashion a sort of history that felt as real as any other old story. Moreover, it glosses over the rather obvious point that Tolkien is writing a novel, or at any rate a long work of prose fiction that owes a good deal to the novel tradition. Therefore, through careful attention to the formal textures of Tolkien's work, melding together both genre criticism and formal analysis (and with a sound understanding of literary history), I argue that Tolkien's work follows a more modern vein and aligns with the nineteenth-century historical novel, the genre pioneered by Sir Walter Scott. The projects of Tolkien and Scott parallel one another in many respects that deserve critical attention. This essay begins the discussion by addressing just one, somewhat surprising, point of comparison: the writers' use of poetry. I observe that Tolkien and Scott utilized poetry in similar ways, and I parse the poems into three distinct categories: low culture poems, high culture poems, and poems which straddle the divide between the two. All of this demonstrates how each piece of poetry, written in an antique style, saturates the texts with historic atmosphere and depth. This lends a sense of authenticity and realism to Scott's works, and later it buttresses Tolkien's attempts to foster "the dust of history" and create an illusion of authenticity and realism for Middle Earth's (imaginary) past.
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De, Blasi Francesca. "Per un Lessico dei Poeti della Scuola siciliana (LPSs)." Thesis, Université de Lorraine, 2017. http://www.theses.fr/2017LORR0323/document.
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Le travail de recherche s’inscrit dans le cadre de la lexicographie historique et consiste en la conception et la rédaction du lexique du corpus de textes de l’École poétique sicilienne, sur la base de l’édition complète, critique et commentée « I Poeti della Scuola siciliana », publiée en 2008 pour la série « I Meridiani » de la maison d’édition Mondadori, sous le patronage du « Centro di Studi filologici e linguistici siciliani », édité par Roberto Antonelli, pour ce qui est du premier volume (entièrement consacré a Giacomo da Lentini), Costanzo Di Girolamo, pour le deuxième (qui comprend les textes des poètes de la cour de Frédéric II) e Rosario Coluccia pour le troisième (ce qui contient les poèmes des Siculo-toscani).Compte tenu de l’importance extraordinaire de la tradition de la poésie sicilienne pour le développement de la littérature et de la langue poétique italiennes, le Lexique de l’Ecole poétique sicilienne considère toutes les couches stratigraphiques de cette tradition à plusieurs manuscrits, en récupérant et organisant le lexique qui résulte du texte et les leçons écartées par les éditeurs modernes et enregistrées dans les apparats ; il prend en considération aussi la très riche tradition éditoriale moderne de ces textes, en laissant la place aux interprétations proposées par différents éditeursThe research consists on editing the glossary of the Sicilian School texts, with reference to the most recent edition: I Poeti della Scuola siciliana, published in 2008, in the series «I Meridiani» of Mondadori publishing company, edited by Roberto Antonelli (Giacomo da Lentini), Costanzo di Girolamo (Poeti della Corte di Federico II) and Rosario Coluccia (Poeti siculo-toscani).Given the extraordinary importance of the manuscript tradition of Sicilian poetry for the development of Italian literature and poetic language, the Glossary of the Sicilian School considers the stratigraphy of this tradition, by recovering and organizing the lexicon that results from the critical text and the variants rejected by modern editors and recorded in the critical apparatus; it also takes into consideration the very rich modern editorial tradition of these texts, reporting interpretations proposed by different editor
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Brenzel, Patrick [Verfasser], Luuk A. J. R. [Gutachter] Houwen, and Thomas [Gutachter] Honegger. "„He nys nat gentil, be he duc or erl, / For vileyns synful dedes make a cherl” : a historical approach to nobility in Chaucer’s poetry / Patrick Brenzel ; Gutachter: Luuk A. J. R. Houwen, Thomas Honegger ; Fakultät für Philologie." Bochum : Ruhr-Universität Bochum, 2020. http://d-nb.info/1216332819/34.
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Fleck, Gilmei Francisco [UNESP]. "O romance, leituras da história: a saga de Cristóvão Colombo em terras americanas." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/103668.
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Apoiado nos pressupostos da literatura comparada, o presente estudo investiga as principais produções de romances no contexto da poética do descobrimento em terras americanas, cujas produções incluem obras que revelam desde o discurso apologético ao paródico e carnavalizado. Tais releituras se alimentam das imagens dicotômicas de Colombo, expostas tanto pela historiografia tradicional como pela nova história e pelo romance histórico. Partindo de um corpus bastante amplo, com romances produzidos em diferentes períodos, objetiva-se, primeiramente, destacar o discurso apologético presente nas produções norte-americanas desde o romantismo até a contemporaneidade para, em seguida, ao abordar a produção hispano-americana da temática – iniciada na década de 70 do século XX – mostrar que esta modalidade de novo romance histórico acabou influenciando as produções sobre o descobrimento em todo o território americano, levando determinados romancistas norteamericanos a se alinharem com os logros estéticos da literatura hispano-americana. Como conseqüência deste processo, temos, na literatura norte-americana contemporânea, um conjunto de obras que inclui a dialética da apologia e da paródia em relação à poética do descobrimento, fato que revelamos pela análise de um corpus específico. O procedimento de seleção do corpus levou em conta, para sua delimitação, os seguintes critérios: obras que pertencessem à modalidade romance histórico americano contemporâneo; que fossem oriundas de cada uma das três Américas; e que fossem representativas de cada uma das modalidades contemporâneas de romance histórico em língua espanhola e inglesa...
Supported by the principles of Compared Literature, the present study investigates the main novels’ productions on the poetry of the discovery in America, whose fictional production includes works with different discourses, from the apology to parody and carnivalization. Such re-elaborations have as one of their sources the dichotomic images of Columbus widespread by both the traditional historiography and the new history, as well as the historical novel. Based on a comprehensive corpus of historical novels produced in different periods in America, we firstly intend to prove that this literary genre in North America has produced a discourse of apology since Romanticism until contemporary times, and then, by approaching the Hispanic American fictional production of the theme – which started around the 70s of the 20th century –, to show that this kind of historical novel has eventually influenced the whole fictional production on the discovery in the whole American continent. This fact made some of the North American novelist align themselves with the aesthetic aspects achieved by the Hispanic American Literature. As a consequence of this process, the current North American Literature presents a number of works including the dialectic of apology and parody in relation to the discovery, which can be confirmed by the analyses of works from our corpus. In the selection of this corpus, we considered the following criteria: works classified as contemporary American historical novels; works produced in each of the three Americas; and works which are representative of the different... (Complete abstract click electronic access below)
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Verdon, Flore. "La création d’un royaume eutopique arthurien au XIIe siècle : géographies mythiques et itinéraires arthuriens pour un monde idéal." Thesis, Reims, 2019. http://www.theses.fr/2019REIML007/document.
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Ce travail analyse le rôle fondamental du royaume arthurien dans le récit breton du XIIe siècle. Ce lieu soulève des problématiques relatives aux fonctions de la souveraineté et tend vers la définition d’un idéal qu’on appellera « eutopique ».L’étude repose sur l’hypothèse de l’existence de deux « domaines » arthuriens qui donnent aux textes leur polarité fondamentale : le domaine courtois d’une part, qui se caractérise par une emprise masculine, celle d’Arthur, et le domaine merveilleux qui est davantage marqué par des figures féminines, souvent féeriques. Ce dernier domaine figure un envers symbolique du domaine d’origine du héros dont le parcours met en lumière une tension dialectique féconde. En effet, l’aventure le conduit du domaine courtois au domaine merveilleux, pour le ramener à la fin à la cour d’Arthur. Or ce retour ne signifie pas une régression au point de départ, mais implique au contraire la définition d’un nouvel espace, à la fois concret et idéal, à la tête duquel le héros, désormais investi de la fonction royale, règnera en assurant le bien-être de sa communauté. Ce troisième lieu est donc distinct du domaine courtois originel et en propose une variante régénérée. Le nouveau royaume qui émerge à l’issue de l’aventure chevaleresque peut ainsi être appelé « eutopique ». C’est le lieu de la construction d’un idéal humble, assurant la satisfaction des besoins humains les plus simples : l’abondance alimentaire, et de manière générale la réparation de toutes les « mauvaises coutumes » que le roi fatigué a laissé s’installer. Il se situe donc aussi aux antipodes d’idéaux plus abstraits pour poser cette aspiration simple d’une vie à mesure humaineThis thesis analyses the fundamental role of the Arthurian kingdom in the Arthurian narrative of the twelfth century. This place raises issues related to the functions of sovereignty and tends towards the definition of an ideal that will be called « eutopic ».The study is based on the hypothesis of the existence of two Arthurian « domains » which give to the texts their fundamental polarity: on the one hand, there is the courteous domain, which is characterized by a male authority, that of Arthur, and on the other hand, the marvelous domain is comprised of fairy feminine figures. The marvelous domain is a symbolic reverse of the hero’s original domain, whose path highlights a dialectical tension. Indeed, the adventure leads him from the courteous domain to the marvelous one, to bring him back at the end to Arthur’s court. This return does not mean a regression to the starting point, but on the contrary implies the definition of a new space, both concrete and ideal, at the head of which the hero, now invested with the royal function, will reign by ensuring the well-being of his community. Therefore, this third place is distinct from the original courteous domain and proposes a regenerated variant. The new kingdom that emerges at the end of the chivalrous adventure can thus be called « eutopic ». It is a place for the construction of a humble ideal, ensuring the satisfaction of the simplest human needs: the abundance of, and more generally the restoration of all the « bad customs » that the tired king let settle down. It is the antithesis of more abstract ideals to pose this simple aspiration of human scale life
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Attwater, Juliet. "Translating brazilian poetry." Florianópolis, SC, 2011. http://repositorio.ufsc.br/xmlui/handle/123456789/95200.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Estudos da TraduçãoMade available in DSpace on 2012-10-25T22:11:33Z (GMT). No. of bitstreams: 1 300103.pdf: 1377477 bytes, checksum: 80ae5cb008acfac14cc193717f587d30 (MD5)
Este trabalho parte da investigação do cânone poético brasileiro e o 'cross'-cânone anglo-brasileiro com o objetivo de criar uma nova antologia em inglês de poesia brasileira canônica e contemporânea de 1922 aos tempos atuais. Dessa maneira, examina a formação e os critérios de seleção de antologias em ambas as culturas literárias e analisa estratégias e abordagens para a tradução de poesia. Para concluir, discute três dos poetas e os poemas escolhidos para o projeto, bem como o processo tradutório e o resultado.
With the aim of creating a new anthology in English of canonical and contemporary Brazilian poetry from 1922 to the present day, this thesis investigates both the Brazilian poetic canon and the cross-cultural Anglo-Brazilian poetic canon. It examines the formation and selection criteria of anthologies in both literary cultures, and strategies and approaches for poetry translation. Finally it discusses three of the poets and their poems chosen for the project, analyses the translations, and evaluates the finished product.
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Fleck, Gilmei Francisco. "O romance, leituras da história : a saga de Cristóvão Colombo em terras americanas /." Assis : [s.n.], 2008. http://hdl.handle.net/11449/103668.
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Orientador: Heloísa Costa MiltonBanca: Livia Maria de Freitas Reis
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Banca: Ana Maria Carlos
Banca: Cleide Antônia Rapucci
Resumo: Apoiado nos pressupostos da literatura comparada, o presente estudo investiga as principais produções de romances no contexto da poética do descobrimento em terras americanas, cujas produções incluem obras que revelam desde o discurso apologético ao paródico e carnavalizado. Tais releituras se alimentam das imagens dicotômicas de Colombo, expostas tanto pela historiografia tradicional como pela nova história e pelo romance histórico. Partindo de um corpus bastante amplo, com romances produzidos em diferentes períodos, objetiva-se, primeiramente, destacar o discurso apologético presente nas produções norte-americanas desde o romantismo até a contemporaneidade para, em seguida, ao abordar a produção hispano-americana da temática - iniciada na década de 70 do século XX - mostrar que esta modalidade de novo romance histórico acabou influenciando as produções sobre o descobrimento em todo o território americano, levando determinados romancistas norteamericanos a se alinharem com os logros estéticos da literatura hispano-americana. Como conseqüência deste processo, temos, na literatura norte-americana contemporânea, um conjunto de obras que inclui a dialética da apologia e da paródia em relação à poética do descobrimento, fato que revelamos pela análise de um corpus específico. O procedimento de seleção do corpus levou em conta, para sua delimitação, os seguintes critérios: obras que pertencessem à modalidade romance histórico americano contemporâneo; que fossem oriundas de cada uma das três Américas; e que fossem representativas de cada uma das modalidades contemporâneas de romance histórico em língua espanhola e inglesa... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Supported by the principles of Compared Literature, the present study investigates the main novels' productions on the poetry of the discovery in America, whose fictional production includes works with different discourses, from the apology to parody and carnivalization. Such re-elaborations have as one of their sources the dichotomic images of Columbus widespread by both the traditional historiography and the new history, as well as the historical novel. Based on a comprehensive corpus of historical novels produced in different periods in America, we firstly intend to prove that this literary genre in North America has produced a discourse of apology since Romanticism until contemporary times, and then, by approaching the Hispanic American fictional production of the theme - which started around the 70s of the 20th century -, to show that this kind of historical novel has eventually influenced the whole fictional production on the discovery in the whole American continent. This fact made some of the North American novelist align themselves with the aesthetic aspects achieved by the Hispanic American Literature. As a consequence of this process, the current North American Literature presents a number of works including the dialectic of apology and parody in relation to the discovery, which can be confirmed by the analyses of works from our corpus. In the selection of this corpus, we considered the following criteria: works classified as contemporary American historical novels; works produced in each of the three Americas; and works which are representative of the different... (Complete abstract click electronic access below)
Doutor
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Bender, Lucas Rambo. "Du Fu: Poet Historian, Poet Sage." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493294.
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This dissertation argues that Du Fu’s (712-770) ascent to the pinnacle of the Chinese literary pantheon was bound up with a revolution in the ways poetry was understood to be a serious endeavor. In Du Fu’s time, poetry had been valued for sustaining a time-transcending ritual institution descended from the ancient sages. Those later critics who placed Du Fu at the center of the poetic canon, by contrast, have generally located the his verse’s “serious” value in its embodiment of admirably accurate and appropriately felt perceptions of the precise historical circumstances that occasioned its composition. Although these latter critics have often claimed great antiquity for this latter vision of poetry’s moral significance, I argue that it was not an intellectual possibility in the Tang, and that it only came to be broadly persuasive when Du Fu’s collection was extensively remade through the addition of commentarial and contextualizing paratexts that were previously unprecedented within the Chinese critical tradition. Placed back into its original intellectual and material context, then, Du Fu’s poetry reads very differently than it has to post-medieval critics.
It was, however, no coincidence that Du Fu was chosen as the center of this radical reinvention of the Chinese poetic tradition. It is possible to trace in the poet’s early collection a process of divergence from the norms of his time, leading ultimately to the creation of a new poetic language that does in fact raise many of the questions that Du Fu’s most influential critics have sought to answer. Yet this new poetic language never fully delivers the reassuring claim that these later critics have seen in his collection: that the good man will always be able to understand and movingly convey the moral truth of his experience. Instead of demonstrating the poet’s apprehension of such natural and given truth, Du Fu’s mature verse dramatizes itself as within the process of seeking for sense, a process that it leaves always open and unfinished.East Asian Languages and Civilizations
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Zimmermann, Gunhild. "The four Old English poetic manuscripts : texts, contexts, and historical background /." Heidelberg : C. Winter, 1995. http://catalogue.bnf.fr/ark:/12148/cb37077460f.
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RABELLO, FELIPE SIMAS. "UT PICTURA POESIS: A HISTORIC OVERVIEW OF THE RELATIONSHIP BETWEEN PAINTING AND POETRY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=27704@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
Ut pictura poesis: um panorama histórico das relações entre pintura e poesia é uma análise crítica do percurso histórico das relações entre as denominadas artes gêmeas. A partir de premissas que se baseiam na permanência do topos ut pictura poesis e da ekphrasis como constantes na literatura ocidental, a investigação busca mapear historicamente os turning points das relações entre as duas artes, assim como organizá-los de um modo coerente e panorâmico que permita que as manifestações comparativas contemporâneas sejam analisadas à luz de seus antecedentes práticos e teóricos.
Ut pictura poesis: a historic overview of the relationship between painting and poetry is a critical analysis of the historical development of the relationships between the so-called twin arts. Assuming the topos ut pictura poesis and ekphrasis as constants in western literature, the research seeks to historically map the turning points in the relationship between the two arts, as well as organize it in a coherent and panoramic way that allows that contemporary comparative expressions to be analyzed with the theoretical help of its practical and theoretical antecedents.
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Bird, Kimberly E. "Revolutionary ambience and historical memory : popular front poetic radicalism at the California-world border /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2005. http://uclibs.org/PID/11984.
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Romero, Anaya Jesus. "Individualidad de la "Historia de la nueva Mexico", de Gaspar de Villagra, en el contexto de la epica indiana." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186119.
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The Historia de la Nueva Mexico, by Gaspar Perez de Villagra, has been one of the less studied epic poems in Hispanic American literary criticism. The purpose of this study is to show the text's literary characteristics and justify its inclusion within the tradition of Ariosto's romanzi, which was earlier followed by La Araucana, paradigm of the epic discourse in Hispanic America. The analysis borrows from a structuralist-narratologic methodology developed in the works of Gerard Genette, Felix Martinez Bonatti, Cedomil Goic and Julia Kristeva. The study begins with the analysis of the different definitions of 'epic genre' from Aristotle and Horatio to the twentieth century and the theories of Genette about architextuality. Once establishing the definitions, the study proceeds to differentiate between the two generic variants: the romance and the epic. The purpose here is to show that the principles of textual disposition applied by epic authors of the sixteenth and seventeenth centuries in Hispanic America belong to the romance, and this gives the discourse a very distinct structural physiognomy. A comparative analysis of some of the best known epic poems in Hispanic America show their structural singularity, as well as their inclusion within Ariosto's tradition. The texts analyzed are: Arauco domado, Peregrino indiano, Puren indomito, Argentina y Conquista del Rio de la Plata, La Christiada, and Bernardo. In Chapter Four the study centers on the transtextual relationships established between La Araucana and Villagra's poem, which determine the individuality of the Historia de la Nueva Mexico and its inclusion within the Hispanic American literary canon. The poem's uniqueness is based on its peculiar narrative structure, the hypertextual relationship it maintains with the Ercillan paradigm, as well as the juxtaposition of codes that determine an intertextual space. This space is the aesthetic image of ideological tensions in the narrator's perspective. It is the tensions which place both the narrator and the text within the ideological and artistic parameters of the Baroque period.
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Crabb, Dawn Nora. "Navigating the Wreck: Writing women’s experience of the Japanese Occupation of Singapore. Salvaged from the Wreck: A novel -and- Diving into the Wreck: A critical essay." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2416.
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This thesis is in two parts. The first and major part consists of a historical novel followed, in part two, by an essay. The title of this thesis, “Navigating the Wreck”, refers metaphorically to the Fall of Singapore in 1942, the ensuing human tragedy unleashed on the people of Singapore and Malaya, and the literary and historical processes of exploring, interpreting and depicting the past. The Japanese occupation of Singapore has, to date, been described mostly by Western historians and former prisoners of war who have forged a predominant patriarchal narrative. In that narrative—despite the all-encompassing nature of the occupation and the cataclysmic effect it had on civilians—women are virtually invisible.
The objective of this thesis is to privilege women’s experiences by ethically gathering, analysing and re-imagining the accounts of a group of women of different ethnic and cultural backgrounds—Chinese, Indian, Malay, Eurasian—who lived through the occupation, using historical fiction to engage as broad a readership as possible. As well as literary praxis, research centres on analysis of relevant literature, including eight ethnically diverse published female memoirs and eleven women’s oral histories held by the National Archive of Singapore.
The essay discusses the artefact-centred, pragmatic and self-reflexive bricolage approach of this thesis, its feminist and phenomenological framework and my ethical responsibility and outsider authorial position as a white Australian woman reliant on local witness accounts. Feminist concerns addressed in the thesis are invisibility, plurality and intersectionality and I adopt a critical feminist phenomenology based on five aspects of Simone de Beauvoir’s The Second Sex to discuss the aims and the research and writing processes of the thesis.
Working within that framework, I summarised and categorised female oral interview data from audio and written transcripts enabling comparison of each woman’s individual experience of the war and the effects that the occupation had on each woman’s life situation, revealing a diverse set of experiences, some of which influenced my literary choices. By immersing myself in the particular remembered experiences of each of the female interviewees and considering their stories against the tapestry of my own extensive lived experience of the physical, cultural and social world of Singapore, as well as an in-depth investigation of other historical data and male and female written memoirs, I identified gaps and silences that needed to be addressed. These include the strategic household, wage earning, food-supplying and charitable role that women played in the dangerous and difficult situation of the occupation as well as the ignored or marginalised active participation of women in Singapore’s pre-war anti-colonial communist movements, support for and armed participation in anti-Japanese activities in China as well as the jungle-based guerrilla militias in Malaya, and the urban anti-Japanese underground in Singapore.
The essay weaves the creative thinking and practical processes of researching and writing the novel through discussion of practice, literature, theory, methodology and craft, retrieving and exposing what is usually submerged in the creative process to indicate a matrix of production.
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Pavez, Leonardo Acquaviva. "\'Historia Magistra Vitae\': história e oratória em Cícero." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-03022010-170138/.
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O objetivo do presente mestrado é examinar as relações entre escrita da história e oratória na obra de Marco Túlio Cícero, considerando, sobretudo, as reflexões acerca da historiografia grega e romana arcaica, que foram tecidas nos seus tratados retóricos e filosóficos, com base na terminologia própria da doutrina retórica ciceroniana, presente nessas mesmas obras. Assim, mostra-se indispensável, primeiramente, acentuar o uso dessa terminologia retórica para a compreensão dos ajuizamentos de Cícero acerca da relevância do estudo da história e da historiografia em Roma, para somente então, com base na apreensão preliminar do aparato conceitual e metodológico empregado pelo filósofo, examinar de que forma ele concebia a história e a prática historiográfica romana. A partir da análise de trechos das obras de Cícero, especialmente, De Inventione, De Oratore, Ad Familiares V, 12, De Legibus, De Re Publica, Brutus e De Officiis, poder-se-á precisar quão ligadas estão história e oratória no pensamento ciceroniano, estabelecendo-se, ao fim do percurso investigativo, o esboço da concepção ciceroniana da história.Through deep analysis of the textual context within which Cícero have woven his opinions about the knowledge and writing of historia, specially those focused on by Cicero in De Inventione, De Oratore, Ad Familiares V, 12, De Legibus, De Re Publica, Brutus and De Officiis, in which the rhetorical terminology and philosophical treatment appear as a pre-condition to the range of the meaning of his words about historia, we aim to sketch the outlines of his conception of history both as a matter of knowledge necessary to the orator and as a function of the vir dicendi peritus.
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Ledesma, Eduardo. "The Historic Avant-Garde, the Neo-Avant-Garde and the Digital Age: Experimental Visual-Textual Forms in the Luso-Hispanic World." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10286.
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My dissertation examines the experimental poetry of three periods, the historical avant-garde of the 1920s, the neo-avant-gardes of the 1950s, 60s, and 70s, and the digital avant-garde (from the 1990s until the present), drawing on the works of poets from the Luso-Hispanic world including the Iberian Peninsula and Latin America. Scholars such as Renato Poggioli and Peter Bürger define the avant-garde as radically new and unrepeatable, an "advanced" guard that exhausted its aesthetic and political possibilities. I challenge this view by establishing a continuity of avant-gardes that emerge during periods of technological innovation and cultural exchange, introducing new artistic modalities, engaging with emerging media and re-purposing the strategies of past avant-gardes to their own historical conditions. Experimental poetic practices such as visual, kinetic, phonetic, concrete, video poetry, and poetic performance have unfolded over time and across national boundaries in response to global, social, and technological forces. My focus is on poetry broadly understood as works that "experiment" with the interplay between the visual, the sonorous and the verbal, questioning both genre and medium specificity, and contesting traditional discipline-bound tools of analysis. In order to critically approach poems that are often not printed on a page, and depend on more than verbal communication, I draw on disciplines such as literary analysis--including close-readings--media theory, and film analysis, and deploy theories of metaphor, embodiment and affect to interpret works that focus on the materiality of language through typographic experiments, script animation, and performance. The selection includes poems by authors from the 1920s such as Josep M. Junoy, Joan Salvat-Papasseit, José Juan Tablada, Guilherme de Almeida; neo-avant-garde visual and concrete poets from the 1960s such as Joan Brossa, Julio Campal, Edgardo Vigo, and Décio Pignatari; and their contemporary counterparts working with digital media such as Ana María Uribe, Olga Delgado, María Mencía, Arnaldo Antunes, and Eduardo Kac. Examining digital poetry in the light of older poetic practices, I compare and contrast how artists have queried the status of literature as a purely script-based art, considering how notions of experimental literature have changed through time (diachronically), but also isolate each period (synchronically).Romance Languages and Literatures
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Gallo, Ellen Foundas. "The "barefoot rank" Emily Dickinson and Helen Hunt Jackson: an historical study of women poets." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1399639803.
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Kelly, Dylan. "Crisis, Shell-Shock, and the Temporality of Trauma: Cultural Memory and the Great War Combatant Experience in Owen, Graves, and Barker." Honors in the Major Thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1604.
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The year 2014 will mark the centennial of the outbreak of World War I in August 1914. This historic anniversary will likely provoke several discussions from all fields in the humanities concerning the Great War's significance on contemporary culture through history, visual art, and in the case of this essay: literature. In light of this event, any serious discussion among scholars should undeniably begin with how the war continues to be represented today through a thorough, contemporary analysis of its many key literary texts. This essay will examine, in this regard, how past and contemporary discourses in literary theory-primarily concerned with how an individual combatant subject attempts to construct and understand their own traumatic experiences through poetic and literary discourse-can continue to incite discussion on why literature of the Great War and its influential role in defining how it has come to be understood in our cultural memory remains relevant even today. Under the guiding influence of Paul Fussell's classic The Great War and Modern Memory, I will discuss how three important works-a poetry collection, a memoir, and a modern work of historical fiction-all contribute to how the war has become represented as a tragic rupture in history that reversed the idea of human progress and left an entire generation disillusioned in its aftermath, regardless of the historical veracity of this legacy. The texts I will be examining include: select poems of Wilfred Owen, Goodbye to All That by Robert Graves, and Regeneration by Pat Barker. In addition to this, I will conclude with an analysis of how a contemporary reading of these texts can contribute to a larger discussion of the crisis of historicity in our current post-modern cultural landscape.B.A.
Bachelors
English
Arts and Humanities
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Clevenger, Jennifer Lynn. "Poetry as a Source of Knowledge on Historic Dress in a Social, Political, and Economic Context: The Scottish Highlanders from 1603 through 1830 as an Example." Diss., Virginia Tech, 2002. http://hdl.handle.net/10919/11231.
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Dress is both an individual and a societal means of communication. Understanding the meaning of dress within a society, culture, and specific time period can aid researchers in understanding the social, political, and economic events and changes that take place in dress. The Scottish Highland dress differed in the 17th and early 18th centuries from that of the Scottish Lowlanders (i.e., people of Scotland below the Highlands) due to differences in culture and geography. Highland dress has been difficult to study because few extant garments exist before the 19th century and most of the records that exist deal with the upper class garments.
The purpose of this research was to determine whether or not poetry (i.e., poems, ballads, and songs) could be used as a source of knowledge on historic dress in a social, political, or economic context, using the dress of Scottish Highlanders from 1603 through 1830 as an example, and to triangulate the findings with other sources that portray dress through the written word or visual image. This research cross-referenced the items of dress with social, political, and economic events that occurred in the lives of the Scottish and Highland people. The main source of documentation for this research was 3,501 Scottish poems written between 1603 and 1830 gathered from 18 anthologies and there were 394 poems with male dress references and 245 poems with female dress references, which was 18% of the poems. A large number (N=1531) of individual dress items were referenced within those poems. The poems were triangulated with 34 letters and 332 portraits from the same time period.
The study of Highland dress in poetry expanded the knowledge base regarding specific items worn by males and females. The majority of the poems and dress references were found in the 18th century. The plaid and the kilt were the focus of poems related to war. The letters and portraits provided new information on dress, as well as providing support for the information gathered in the poems. Triangulation with the letters and portraits validated poetry as a source of Highland dress between 1603 and 1830.Ph. D.
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Cánovas, Vidal Ana Belén. "Poesía e historia en el último tercio del siglo XX español : el caso de Javier Egea (1952-1999)." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30014/document.
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L’élan créateur consécutif à la guerre civile espagnole (1936-1939) reste très vif dans les générations de poètes qui écrivent en Espagne vers les années 50 ; c’est ce que l’on appelle poesía social, où l’on classe habituellement des noms tels que Blas de Otero, Gabriel Celaya ou José Hierro. Le ton combatif des années de guerre (Alberti, Hernández) devient alors résigné et seule une pointe d’espoir semble surgir de cette poésie radicalement solidaire. Quelques années plus tard, pour une nouvelle génération poétique (Jaime Gil de Biedma, José Agustín Goytisolo, entre autres) il ne s’agit plus d’écrire une poésie de circonstances, mais de donner voix à leurs inquiétudes personnelles, même si celles-ci sont étroitement liées au devenir collectif de leur pays. Habituellement on considère que ce type de poésie engagée termine avec l’avènement, dans les années 70, des Novísimos, groupe de poètes cherchant, bien au contraire, à faire une poésie aux antipodes de la triste réalité espagnole. Ces poètes ont besoin d’actualiser un horizon lyrique suranné et de donner à la poésie une dimension ludique absente de la poésie espagnole depuis les avant-gardes des années 20-30. Il n’en est pas moins que cette prise de position très critiquée constituait également une réaction subversive. Pour ces jeunes poètes il fallait résolument aller de l’avant et ne pas laisser la poésie espagnole, qui avait connu des heures si brillantes, s’engouffrer elle aussi dans les enfers d’un régime dictatorial. Ce changement de paradigme va à son tour se voir en quelque sorte interrompu dans les années 80 par le groupe poétique La otra sentimentalidad, qui revient à la poésie liée étroitement à l’histoire, cette fois-ci en pleine movida, ce mouvement social et culturel qui dynamitait les mœurs espagnoles et qui coïncidait avec l’arrivée des socialistes au pouvoir, en 1982. Il s’agira désormais de concevoir la littérature comme discours idéologique et d’en assumer l’historicité radicale. Javier Egea, membre fondateur du groupe de Grenade et figure centrale de ce travail, s’évertue non seulement à intégrer les réflexions matérialistes dans son œuvre, surtout dans ses recueils capitaux (Troppo mare, de 1984, Paseo de los tristes, de 1982, et Raro de luna, de 1990), mais aussi à cultiver une poésie qui évoque les événements historiques de manière directe, notamment dans ses poèmes dispersés ou inédits. C’est sur cette œuvre et sur les liens qui se tissent entre poésie et histoire dans le dernier tiers du XXe siècle espagnol que ce travail se propose de réfléchirThe creative impulse resulting from the Spanish Civil War (1936-1939) remained very vivid in the generations of poets who wrote in Spain in the 1950s; this is called social poetry, where authors as Blas de Otero, Gabriel Celaya or José Hierro are usually classified. The combative tone of the war years (Alberti, Hernández) then became resigned and only a hint of hope seemed to arise from this radically solidary poetry. A few years later, for a new poetic generation (Jaime Gil de Biedma, José Agustín Goytisolo, among others), it is no longer a question of writing a poem of circumstances, but of giving voice to their personal anxieties, even if those anxieties are closely linked to the collective future of their country. Usually it is considered that this type of committed poetry ended with the advent, in the 70s, of the Novísimos, a group of poets were seeking, on the contrary, to make a poetry at the antipodes of the mournful Spanish reality. These poets needed to actualize an outdated lyrical horizon and to give poetry a playful dimension absent from Spanish poetry since the avant-gardes of the years 20-30. Nevertheless, this highly criticized position was also a subversive reaction. For these young poets it was necessary to resolutely go forward and not let the Spanish poetry, which had known such brilliant hours, also plunge into the underworld of a dictatorial regime. This paradigm shift will in turn be seen in some way interrupted in the 80s by the poetic group La otra sentimentalidad, which returns to poetry closely linked to history. This period coincided with the arrival of the Socialists in power in 1982 and the movida, a social and cultural movement life which dynamited the Spanish manners. It will now be a question of conceiving literature as an ideological discourse and assuming its radical historicity. Javier Egea, founding member of the Grenada group and central figure of this work, strives not only to integrate the materialistic reflections in his work, especially in his capital collections (Troppo mare, 1984, Paseo de los Tristes, of 1982, and Raro de luna, of 1990), but also a poetry directly related to the historical events, especially in his dispersed or unpublished poems. This thesis proposes a reflection on this work and on the links between poetry and history in the last third of the Spanish twentieth century
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García, Yevenes Roberto Alejandro. "Boris Calderón, el poeta de los adioses: reconstrucción de la historia de vida de un olvidado." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/135849.
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Memoria para optar al Título de PeriodistaEl autor no autoriza el acceso a texto completo de su documento
La siguiente investigación periodística, sobre un hito literario contemporáneo, es el primer intento del campo académico por reconstruir la historia de vida del poeta chileno Boris Calderón Soto (1934-1962) y situarlo en la escena cultural de la década del ‘50. Su muerte prematura, a los 28 años de edad, deja un halo de misterio en torno a su obra poética e historiografía. Calderón es un poeta con un breve pero profuso trabajo autoral, publica tres libros: Estío en la Materia (1954), El Libro de los Adioses (1956) y Canciones para una Niña que se Llama Francisca (1959). La recepción de sus obras, con una escritura simbolista, profunda y auténtica, le augura un sitial en las letras chilenas. El poeta en un estado intimista no pretende representar la realidad en sus textos, sino toma elementos de ésta y la transfigura, donde la palabra no sólo nombra al mundo sino que lo forma. No obstante, la crítica literaria y el campo de análisis académico, insistentemente, omiten su figura en una época convulsa y excitante.
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Gil, Abellán Mª Carmen. "La Historia evangélica de Juvenco en la edición de Faustino Arévalo." Doctoral thesis, Universidad de Murcia, 2004. http://hdl.handle.net/10803/10802.
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La Tesis titulada "La Historia evangelica de Juvenco en la edición de Faustino Arévalo" estudia el texto editado por Arévalo del poeta latino-cristiano. Presentada la biografía y obra juvenciana -características principales y revisión bibliográfica acerca del mismo-, se aborda la biografía y producción literaria arevaliana; se describe su edición, doble estructura del comentario y Prolegomena. Se valoran sus aportaciones y pervivencia. Se estudia el texto -libro primero- analizando las fuentes manuscritas y ediciones utilizadas, aportando cuatro tablas con variantes textuales y se completa esta parte con la presentación del texto arevaliano con aparato crítico, que evidencia el acierto o no de sus elecciones. En las notae se muestra la riqueza del comentario. Se estudian aquellas más relevantes para conocer su trabajo, remisiones a otros pasajes juvencianos, o su aportación de fuentes evangélicas. Las conclusiones generales cierran el estudio y finalmente se incluyen cuatro Apéndices y un resumen en italiano.The Thesis entitled "The Historia evangelica from Iuvencus in the Faustino Arévalo's edition" studies the text published by Arévalo of the latin-christian poet. We are offered the biography and the Iuvencian work -main characteristics and bibliographical review about Iuvencus. It deals with the biography and Arévalo's literary production; it describes the edition, the double structure of the commentary and Prolegomena. His contributions and their pervivence are evaluated. It studies the text -the first book- analysing the sources used in it (Manuscripts and editions), adding four charts with the Arevalian text and text review, which shows clearly his choices. It is notorius in his notae the good quality of the commentary. Some of them have been analysed in order to get to know his work, references to other Iuvencian verses, contribution of evangelical sources. There are general conclusions and finally it includes four appendices and a summary in Italian language.Nota Importante: Para leer la tesis correctamente es necesario tener instalada la fuente galileeU (ver ficheros)
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Gomes, Rafaela de Abreu. "João Cabral, um poeta-crítico: poiesis e crítica." www.teses.ufc.br, 2015. http://www.repositorio.ufc.br/handle/riufc/15177.
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GOMES, Rafaela de Abreu. João Cabral, um poeta-crítico: poiesis e crítica. 2015. 163f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2015.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-02-11T13:27:34Z No. of bitstreams: 1 2015_dis_ragomes.pdf: 5003489 bytes, checksum: 3c798ba8d34a29ea3d7e657b428a0753 (MD5)
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A poesia de João Cabral de Melo Neto (1920-1999) ensina ao leitor que é possível estabelecer e discutir relações entre o texto poético, a crítica literária e a realidade, de modo que o leitor possa, a partir dessas relações, encontrar novas possibilidades de enxergar o real. Desse modo, esta pesquisa é uma proposta que discute os entrecruzamentos da poesia cabralina com os processos de criação poética, com a escritura crítica e com as ligações feitas, pelo poeta, entre suas observações, experiências e memórias com a composição poética. Utilizamos uma metodologia comparatista, a partir do princípio da complexidade, segundo a perspectiva do pensador francês Edgar Morin (2011), para propormos, no primeiro capítulo, discussões acerca da formação intelectual e poética de João Cabral de Melo Neto. Incluímos sua ligação com seu lugar de nascimento, Pernambuco, com as vanguardas artísticas e com seus pares, no cenário da Literatura que se configurava à época em que o poeta deu os primeiros passos nos caminhos da poesia. No segundo capítulo, tratamos das análises que João Cabral fez, através de seus poemas, da vida no Brasil e de algumas questões ligadas às possíveis responsabilidades da poesia a esse respeito, segundo o ponto de vista do poeta. Além disso, nos detivemos na metalinguagem cabralina sob uma perspectiva mais abrangente, que inclui não apenas a palavra que trata de outras palavras, mas de linguagens de um modo geral, bem como nos voltamos para cinco ensaios críticos, escritos por João Cabral, fundamentais para a compreensão de sua obra e de seu posicionamento, enquanto poeta. No terceiro capítulo, voltamos nossos interesses para as relações entre João Cabral e o poeta, escritor e engenheiro Joaquim Cardozo (1897-1978), sob uma perspectiva crítica, com base nos poemas que João Cabral dedicou a Joaquim Cardozo, tendo em vista uma compreensão do caráter de poeta crítico de João Cabral de Melo Neto. Todas as referências e discussões teóricas, nesta pesquisa, têm o texto poético cabralino como ponto de partida.
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Santibáñez, Malebran Paz. "Pueblo, Conciencia, Fusíl y Contrapoesía: historia del poeta mirista Ariel Dantón Santibáñez Estay: 1966-1974." Tesis, Universidad de Chile, 2018. http://repositorio.uchile.cl/handle/2250/167989.
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Donoso, Galdames Cristián Alberto. "Arte poética: Construcciones desde chile. Tradición y transformación en cinco poetas del siglo XX." Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/109018.
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Tesis para optar al grado de Magíster en Literatura mención Teoría LiterariaEl objeto de estudio de esta tesis es la manifestación y evolución de la poética general a lo largo del siglo XX en la poesía chilena, vista a partir de la obra de cinco autores representativos. La motivación inicial para trabajar este tema fue el observar que la reflexión poética y la construcción de poéticas, que en el contexto hispanoamericano son aspectos característicos de la poesía moderna, constituyen una línea particularmente rica en Chile, al punto de formar en nuestra historia literaria reciente una “tradición” al respecto muy marcada y variada. La búsqueda de poéticas bien definidas es quizá uno de los desafíos más interesantes al estudiar una literatura nacional, y el hallazgo profuso de ellas va en directa relación con la originalidad intrínseca de esa literatura. Este trabajo cuenta con una primera parte en la que brevemente se definirá el concepto de poética y la historia y alcances de él, para luego pasar a las cinco “muestras” de construcciones poéticas que se tomarán como ejemplos, dispuestas en orden diacrónico: Vicente Huidobro (1883 – 1948), Nicanor Parra (1914 – ), Enrique Lihn (1929 – 1988), Juan Luis Martínez (1942 – 1993) y Rodrigo Lira (1949 – 1981).
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Ferro, González Vladimir. "Poética del exilio en poetas de la diáspora cubana en México y Chile." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/142661.
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Vieira, Cesar Cordeiro. "Incursões de um poeta no folhetim : resgate de cenas da vida de estudante." reponame:Repositório Institucional da UFSC, 1988. http://repositorio.ufsc.br/xmlui/handle/123456789/75465.
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O objetivo deste trabalho foi o resgate do texto de cenas da vida de estudante do escritor Lacerda Coutinho, até então disperso no jornal desterrense do século XIX - O Despertador. Temos aqui, pela primeira vez a sua versão integral, possibilitando a leitura sem interrupções e o conhecimento do único romance do autor. A nossa pesquisa: um capítulo introdutório onde é ressaltada a importância de Lacerda Coutinho no cenário da literatura catarinense do século XIX ; estudo sobre a vida e a obra do autor.
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Tesserolli, Míriam. "Passeio pela vida breve do poeta Sezefredo das Neves : entretecendo história e literatura /." Florianópolis, SC, 1998. http://repositorio.ufsc.br/xmlui/handle/123456789/77736.
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Montaña, Ibañez Francisco. "Cine-infancia e historia en América Latina." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL006.
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Dans la production de longs métrages des années 2000 il y a un numéro spécial de films où la figure de l'enfant semble être le chemin à parcourir, restaurer et critiquer le passé traumatique issue des dictatures du Cône Sud et les guerres révolutionnaires des années 60, 70 et 80 du XXe siècle. La présence d'enfants dans ces récits mémoriels a des implications importantes pour la définition des formes narratives à travers lequel le passé est mis à jour. Ce travail établit d'abord un genre poétique qui naît de la présence des enfants au cinéma en trois constellations (l'enfant et de la misère, la sexualité et de l'enfant, et les enfants et le passé) pour, dans une seconde moment, approfondir l'analyse des formes narratives de la troisième constellation. Sa complexité et son intérêt naissent de la multiplicité des opérations narratives qui se trouvent dans ces films dans lesquels l'enfance surgit dans le récit des adultes porte sur un passé nostalgique qui au même temps implique la dénonciation des conditions d'une enfance impossible et de la perte de celle-ci. Mais ces films non seulement doivent convoquer un passé traumatique lié à la fin de l'enfance, ils sont contraints aussi de prendre en compte les règles du cinéma de fiction ce qui donne lieu, dans la négociation, à une poétique (comme émergence dans l'histoire) dont son analyse sera l'objet final de ce travail. Cette poétique, comprise comme un horizon narratif, politique et idéologique, est le résultat de l'analyse fait sur les sept films du corpus qui parlent du passé des dictatures chilienne et argentine et les guerres révolutionnaires de l’Équateur, de la Colombie, du Venezuela, du Nicaragua et du SalvadorDuring the 2000s there is a special production of Latin-American fiction films in which the figure of the child appears as the path to visit, restore and criticize the southern cone’s dictatorships traumatic past and the revolutionary wars of the 60s, 70’s and 80’s of the twentieth century. The presence of childhood in these memorial stories has important implications for the definition of the narrative forms through which that past is updated. This work aims to establish a poetics of the genre in three constellations (the child and the misery, sexuality and the child, and the childhood and the past). In a second moment it will go deepen in the analysis of the narrative forms of the third constellation. Its complexity and interest result from the multiplicity of narrative operations that take place in these films where childhood manifests itself through the nostalgia of the adult story about a past that at the same time is object of denunciation of the conditions of an impossible childhood and of the loss of it. But these films not only call a traumatic past linked to the end of childhood, they must also assume the rules of storytelling, producing in the negotiation a poetics (such as the emergence of history) that will be the final object of this work. This poetics, understood as a narrative, political and ideological horizon, will be the result of the analysis made of the seven films of the corpus that relate the past of the dictatorships of Chile and Argentina, and the revolutionary wars of Ecuador, Colombia, Venezuela, Nicaragua, Costa Rica and El Salvador
En la producción de largometrajes argumentales en América Latina en los años 2000 hay una cantidad especial de películas en las que la figura del niño aparece como el camino para recorrer, restablecer y criticar el pasado traumático de las dictaduras del cono sur y las guerras revolucionarias de los años 60, 70 y 80 del siglo XX. La presencia de la infancia en estos relatos memoriales tiene implicaciones importantes para la definición de las formas narrativas a través de las cuales se actualiza ese pasado. Este trabajo establece en un primer momento una poética del género que surge de la presencia de los niños en el cine en tres constelaciones (el niño y la miseria, la sexualidad y el niño, y la infancia y el pasado), para en un segundo momento profundizar en el análisis de las formas narrativas de la tercera constelación. Su complejidad e interés surge de la multiplicidad de operaciones narrativas que tienen lugar en estas películas donde la infancia se manifiesta a través de la nostalgia del relato adulto sobre un pasado que al tiempo es objeto de denuncia de las condiciones de una infancia imposible y de la pérdida de la misma. Pero estas películas no sólo convocan un pasado traumático vinculado con el fin de la infancia, también deben asumir las reglas propias delcine argumental, produciendo en la negociación una poética (como el surgimiento a la historia) cuya dinámica será el objeto final de este trabajo. Esta poética, entendida como un horizonte narrativo, político e ideológico, será el resultado del análisis hecho de las siete películas del corpus que relatan el pasado de las dictaduras de Chile y Argentina, y las guerras revolucionarias de Ecuador, Colombia, Venezuela, Nicaragua, Costa Rica y El Salvador
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Cruz, Ilza Mendes da. "Pablo Neruda: o "poeta malacólogo": um diálogo entre a arte literária e a ciência à luz da história da ciência." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/13237.
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Previous issue date: 2010-11-29Secretaria da Educação do Estado de São Paulo
Pablo Neruda, in addition to writing poetry and used to participate of the political life of Chile, used to collect the most different objects collected in many different ways and in different places where he travelled. Many of the objects of his collection were given by friends, others were found in the beach, others were bought. Neruda, by his poetry, managed to materialize the image of what was seeing by observing his objects, in special some shells that were part of his collection of snail (as he said). In this dissertation, we present some aspects related to the confluence between poetry and science. To do so, we compare the poetic description of the shells, with description in scientific form. The poetic language differs in relation to the use of words but is no less true
Pablo Neruda, além de escrever poesia e de participar da vida política do Chile, costumava colecionar os mais variados objetos, coletados nas mais diversas formas, em vários lugares por onde viajou, enquanto representante diplomático daquele país. Muitos dos objetos de sua coleção foram recebidos de amigos, outros foram encontrados na praia e outros, ainda, foram comprados. Neruda, através da poesia, esforçou-se em materializar as imagens que estava captando ao observar os seus objetos, em especial algumas conchas que faziam parte de sua coleção de caracóis (como ele mesmo identifica). Nesta dissertação, procuramos apresentar alguns aspectos relacionados à confluência entre poesia e ciência. Para tanto, buscamos comparar a descrição poética das conchas, com descrição na forma científica. A linguagem poética difere em relação à utilização das palavras porém não é menos verdadeira
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Foucher, Antoine. "Historia proxima poetis : l'influence de la poésie épique sur le style des historiens latins de Salluste à Ammien Marcellin." Paris 4, 1996. http://www.theses.fr/1996PA040074.
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Historia proxima poetis : l'affirmation de Quintilien (10, 1, 31), si elle traduit bien le point de vue d'un rhéteur sur l'historiographie du premier siècle après J. -C. , ne rend que très imparfaitement compte des rapports entre l'histoire et la poésie - c'est-à-dire dans l'esprit de Quintilien dans le nôtre, l'épopée. Cette thèse se fixe dès lors comme principaux buts de faire l'historique de ces rapports, de fonder dans une poétique des genres la proximité de l'histoire et de l'épopée, et surtout d'étudier les manifestations stylistiques - lexique, citations, topique des récits de bataille, mètres et rythmes épiques - qui résultent de l'influence de l'épopée sur la prose des grands historiens latins, de Salluste à Ammien MarcellinHistoria proxima poetis: if Quintilian’s assertion (10, 1, 31) expresses quite well a rhetorician's point of view on the historiography of the first century a. D. , it only accounts for the connections between history and poetry, that is to say, in Quintilian’s mind, and in ours, epic, in a very defective way. So, the chief purposes of this thesis are to give a chronological account of these connections, to found the closeness of history and epic in poetics, and especially to study the stylistic occurrences - vocabulary, citations, topics in accounts of battles, epic metrics and rhythm - which are the outcomes of the influence of epic on famous historians' prose, from Sallust to Ammianus Marcellinus
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Silva, Antonio de Pádua de Souza e. "Movimento Poetas na Praça: uma poética de ruptura e resistência." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/14865.
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Previous issue date: 2008-09-02Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Poetry is a literary phenomenon that, besides man and his language since earlier times until nowadays and will beside him while humanity, exists. However, each time has a particular manifestation to this kind of human language. At the 1970s, in Brazil, there was a kind of poetry that was produced and sailed out of conventional patterns, called marginal poetry; a kind of poetry that, as kind of art, answer to its historical time and, as soon as it happened to 1922s Modernism, 1950s Concretism and 1960s Tropicalism, conquered popular appreciation all over the country. This kind of poetry first work was 26 poetas hoje (26 poets today), a text anthology of texts by 26 authors who lived at Rio de Janeiro or Sao Paulo, organized and published by Heloísa Buarque de Holanda. At the end of the 1970s and longing all the 1980s, a group of young poets decided to put poetry at squares, near people; thus, Movimento Poetas na Praça (Poets at Squares Movement) grew up. Their central stage was Praça da Piedade (Piety Square), in Salvador, capital of Bahia state, where they joined to declaim their own and other author s poems, convoking people to a genial performance, as it used to happen on Medieval times. Movimento Poetas na Praça s founders were Antonio Short, Ametista Nunes, Eduardo Teles and Gilberto Costa, whose texts compose this work corpus. This poetry, called marginal, made angry some others poets, literary critics and scholars who called it sub-literature only because it doesn t follow official literary patterns and values all those who propose themselves as poets. Analyzing some poems composed by those poets, this study aims to offer a brief outline of this movement and contribute to finish the prejudice directed against this group of poets and their literary production
A poesia é um fenômeno literário que acompanha o homem e sua linguagem desde os primórdios até os nossos dias e há de acompanhá-lo, enquanto existir a raça humana. Cada época, no entanto, responde de uma forma particular a essa manifestação da linguagem humana. Nos anos 70, do século XX, surgiu no Brasil uma poesia que, por ter sido produzida e comercializada fora dos padrões convencionais, foi chamada de marginal; é uma poesia que, como toda arte, responde pelo seu tempo e por sua história e, beirando a linha do Modernismo de 22, do Concretismo de 50 e do Tropicalismo de 60, logo caiu no gosto do público e se espalhou por todo o país. O primeiro trabalho organizado e publicado dessa poesia foi a antologia 26 poetas hoje, da ensaísta Heloísa Buarque de Holanda, reunindo poetas que, no momento, moravam no eixo Rio-São Paulo. No final da década de 70 e durante toda a década de 80, um grupo de jovens poetas resolveu colocar a poesia na praça, perto do povo, surgia assim o Movimento Poetas na Praça. Esses poetas tinham como palco central a Praça da Piedade, em Salvador, Bahia, na qual se reuniam e declamavam poemas seus e de outros poetas, convocando o povo para uma genial performance, como nos tempos dos trovadores da Idade Média. Foram seus fundadores Antonio Short, Ametista Nunes, Eduardo Teles e Gilberto Costa; os quatro primeiros compõem o corpus deste trabalho. Essa poesia, chamada de marginal, despertou a ira de alguns poetas, críticos literários e professores universitários, que a tacharam de subliteratura, simplesmente por ela não obedecer aos trâmites oficiais das academias e por valorizar todos os que se propunham como poetas. O que buscamos, aqui, é fornecer um pequeno panorama dessa literatura, analisando, inclusive, alguns poemas dos poetas destacados acima, com o intuito único de acabar com o preconceito com que sempre foi vista essa geração de poetas e sua poesia
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Magnoli, Bocchi Giovanni Battista. "Politica e storia nella "Retorica" di Aristotele : per un commento ad exempla historica." Thesis, Mulhouse, 2018. http://www.theses.fr/2018MULH1860.
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Le projet avait pour objectif d'étudier les contenus historiques des trois volumes de la Rhétorique d'Aristote. Comme il été souligné à juste titre à plusieurs reprises, le rapport entre le Stagirite et l'histoire est un domaine de recherche absolument profitable et qui a bénéficié d'une attention particulière de la part des historiens au cours des dix dernière années. Nous ne parlons pas de ce que dit Aristote directement de l'histoire, à partir du célèbre passage de la "Poétique", mais de l'usage qu'il fait, à des fins argumentatives, de plusieurs épisodes historiquement pertinents. Si, de fait, un jugement négatif vis-à-vis de l'Aristote «historique», issu des d'études de Wilamowitz, a largement influencé l'historiographie du XXe siècle, depuis quelques années, un travail ponctuel se poursuit pour redécouvrir le contenu historiquement intéressant de l'oeuvre du Stagirite. En effet, le philosophe se réfère souvent à des oeuvres perdues ou à la tradition directe, non seulement dans le cadre des disciples qui animaient l'Académie, établi par des Grecs aux origines le plus diverses, mais aussi dans celui de la culture athénienne au sens large. La rhétorique est de fait intrinsèquement liée à l'histoire politique de la cité, à ses lois, à ses constitutions et à la nécessité de persuader, véritable but de la "Rhétorique" aristotélicienne, qui se nourrit de tout cela. Ce corpus de données est donc un objet digne d'une grande attention, visant à le mettre «en sécurité» et à en dégager de façon pertinente le contenu «à travers» l'oeuvre d'Aristote. Avec des résultat très importants du point de vue historiographiqueThe project aimed to study the historical contents of the three volumes of Aristotle's Rhetoric. As has been rightly pointed out on several occasions, the relationship between Stagirite and history is an absolutely profitable field of research that has received special attention from historians over the past ten years. We do not speak of what Aristotle says directly from history, from the famous passage of Poetics,, but of the use he makes, for argumentative purposes, of several historically relevant episodes. If, in fact, a negative judgment with respect to the "historical" Aristotle, resulting from studies of Wilamowitz, largely influenced the historiography of the twentieth century, in recent years, a punctual work continues to rediscover the historically interesting content of the work of Stagirite. Indeed, the philosopher often refers to lost works or direct tradition, not only in the context of the disciples who animated the Academy, established by Greeks with the most diverse origins, but also in that of the Athenian culture at wider. Rhetoric is in fact intrinsically linked to the political history of the city, its laws, its constitutions and the need to persuade, the true goal of Aristotelian rhetoric, which feeds on all this. This corpus of data is therefore an object worthy of great attention, aiming at putting it "safe" and at releasing relevant content "through" the work of Aristotle. With very important results from the historiographical point of view