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Dissertations / Theses on the topic 'Leonard Cohen'
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1
Johansson, Anna. "Conceptual Metaphors in Lyrics by Leonard Cohen." Thesis, Umeå universitet, Institutionen för språkstudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-125400.
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The purpose of this study is to find and analyse conceptual metaphors in the lyrics, A Thousand Kissed Deep, Here It Is, and Boogie Street from the album Ten New Songs (2001) by Leonard Cohen using Conceptual Metaphor Theory (CMT). In order to detected the conceptual metaphors, the source and target domains were identified. Conceptual metaphors were found by mapping source domains onto target domains and viewing the lexical expressions in the lyrics. The result and analysis of the findings in this study show that linguistic expressions of LOVE, LIFE and DEATH are conceptually present in the lyrics.
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Barilli, Elena. "Analisis de la interpretacion de un discurso de Leonard Cohen." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/11364/.
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Koproski, Fernando de Paulo. "Flores das flores para Hitler : 13 poemas traduzidos de Leonard Cohen /." oai:ufpr.br:233648, 2007. http://200.17.209.5:8000/cgi-bin/gw_42_13/chameleon.42.13a?host=localhost%201111%20DEFAULT&sessionid=VTLS&function=CARDSCR&search=KEYWORD&pos=1&u1=12101&t1=233648.
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Orientador: Mauricio Mendonça CardozoDissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Letras e Artes, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 2007
Inclui bibliografia
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Balfour, Sappho M. "No fixed address, locating Leonard Cohen in Western religious/spiritual culture." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0005/MQ34875.pdf.
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Pezzarello, Christopher Joseph. ""You have sweetened your word" : sincerity and prayer in Leonard Cohen's Book of Mercy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ29507.pdf.
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Custeau, Philippe. "A Faint, Blue Idea of Order." ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/443.
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Wells Oliver, a mathematician, and his partner Malin move to Kythera, a remote Greek island, from Canada and Sweden, their respective countries of origin. In doing so, they hope to transform their lives in a way that will allow them to focus on their budding love affair, but they are also running away from obligations and people they are trying to leave behind. On Kythera, they realize that even in the most distant locales, the past is never far below the surface.
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Lebold, Christophe. "Ecritures, masques et voix : pour une poétique des chansons de Leonard Cohen et Bob Dylan." Université Marc Bloch (Strasbourg) (1971-2008), 2004. http://www.theses.fr/2004STR20084.
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La spécificité des plaisirs littéraires que proposent les chansons de Bob Dylan et de Leonard Cohen tient à la qualité poétique de leurs textes, mais aussi à la mise en voix de ces textes en performance, ainsi qu'à la théâtralité des jeux de masques qui sont au centre de deux œuvres largement auto-fictionnelles. Dès lors, à l'étude stylistique des paroles devra nécessairement s'ajouter une « poétique de la voix » et une analyse systématique des fonctionnements complexes des personae mises en place dans les chansons. L'approche textuelle étudie comment les deux auteurs repoussent les contraintes langagières imposées par la mise en musique jusqu'à mettre en place une écriture largement scriptible, tout en inventant des idiomes poétiques originaux à la croisée des traditions du blues, du psaume et du verbe visionnaire, prophétique et sapiential. Les voix sont abordées successivement comme des objets de plaisir, comme des instruments d'écriture rythmique avec lesquels les deux artistes remettent en jeu la partition du texte original, et finalement comme des signes complexes car Dylan et Cohen utilisent les traits saillants de leur timbre pour inscrire une vision du monde à la surface sonore des chansons. Enfin, autour des notions de persona, de posture/imposture et de doublure, l'étude des jeux de masques cherche comment les deux auteurs construisent et déconstruisent perpétuellement leur personnage publique dans une pratique du palimpseste identitaire qui débouche sur une forte ambiguïté tonale entre confession et mystification, lyrisme et ironie. Nous sommes ainsi amenés à une réévaluation de l'impact littéraire de l'objet chanson, laquelle ne peut être menée à bien sans garder à l'esprit le poids de la distinction savant/populaire et la problématique inévitable du statut culturel incertain de Dylan et de Cohen, respectivement passager clandestin et déserteur de la culture savanteThis dissertation aims at assessing the specificity of the literary pleasures derived from the songs of Bob Dylan and Leonard Cohen. Their art can be defined as the locus of three overlapping writing activities : inherently poetical texts are performed and rhythmically re-written by the performer's voice, while the songs are used by both artists to « write themselves » through the creation of numerous and competing personae. Close reading of the lyrics must therefore be supplemented by a « poetics of the voice » and a detailed analysis of the theatrics of their games of masks. While the stylistic approach to the lyrics reveals a thrust towards writerly openness and blends oral traditions and high poetry into original poetic idioms, the aesthetic and semantic uses of the artists' voices are just as elaborate. Therefore, the voices will be approached, in turn, as objects of pleasure, as instruments of writing and as complex signs used for pathos and self-parody or to inscribe a world-view at the sonic surface of the songs. Drawing on highly conceptualised notions (persona, posture/imposture and doublure…), the study of the artists' various masks will isolate the mechanisms that allows them to perpetually construct and deconstruct their public image. These personal palimpsest of identities which constitutes the heart of their work fuel the songs' strong tonal ambiguity, merging confession and mystification, lyricism and irony. After thus establishing a specific poetics for the songwriters' work, we will be brought to re-assess the literary impact of popular songs. In the process, however, the cultural weight of the high/low distinction and the ambiguous cultural status of both artists will have to be kept in mind, Dylan and Cohen being — respectively — a stowaway in and a deserter of high culture
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Vesselova, Natalia. "“The Past is Perfect”: Leonard Cohen’s Philosophy of Time." Thèse, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31065.
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ABSTRACT
This dissertation, “The Past is Perfect”: Leonard Cohen’s Philosophy of Time, analyzes the concept of time and aspects of temporality in Leonard Cohen’s poetry and prose, both published and unpublished. Through imagination and memory, Cohen continuously explores his past as a man, a member of a family, and a representative of a culture. The complex interconnection of individual and collective pasts constitutes the core of Cohen’s philosophy informed by his Jewish heritage, while its artistic expression is indebted to the literary past. The poet/novelist/songwriter was famously designated as “the father of melancholy”; it is his focus on the past that makes his works appear pessimistic. Cohen pays less attention to the other two temporal aspects, present and future, which are seen in a generally negative light until his most recent publication.
The study suggests that although Cohen’s attitude to the past has not changed radically from Let Us Compare Mythologies (1956) to Book of Longing (2006), his views have changed from bitterness prompted by time’s destructive force to acceptance of its work and the assertion of the power of poetry/art to withstand it; there is neither discontent with the present nor prediction of a catastrophic future. Time remains a metaphysical category and subject to mythologizing, temporal linearity often being disregarded. Although Cohen’s spiritual search has extended throughout his life, his essential outlook on time and the past is already expressed in the early books; his latest publications combine new pieces and selections from previous books of poetry and prose works, confirming the continuity of ideas and general consistency of his vision.
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Olofsson, Petter. "”Cohen, Coping och Kommentarsfälten” : – en receptionsstudie om hur religiös coping kan tänkas yttra sig i kommentarsfälten under Leonard Cohens musik på videoplattformen Youtube." Thesis, Uppsala universitet, Teologiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-411579.
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The aim of this paper is to study how the researchers Kenneth I. Pargament, Harold G. Koenig and Lisa M Perez five RCOPE-strategies can be related to the comment fields of five music videos by the artist Leonard Cohen. The video material can be found on the social platform YouTube. The comments were analyzed in relation to the five coping strategies and people's needs for holiness and religion in the late modern secular society. The five coping strategies were: (1) Meaning, (2) Control, (3) Comfort/Spirituality, (4) Intimacy/Spirituality and (5) Life transformation. The methodology of this inductive study was based on an intersection between a qualitative text analysis, and a more netnographically oriented style of observation. The conclusion while analyzing the data in relation to RCOPE- strategies was that two of these five strategies were more clearly projected. These strategies were (3) Comfort /Spirituality and (4) Intimacy/Spirituality. This paper is moving in a relatively unexplored field of research and can be seen as a springboard for further research on the relationship between secularization, digital media, and human religious orientation in dealing with existential crises. Keywords: Religious Coping Strategies, Leonard Cohen, Comfort Spirituality, Intimacy, Spirituality, Social Media, Youtube
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Hill, Colin 1970. "Leonard Cohen's lives in art : the story of the artist in his novels, poems, and songs." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26737.
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The concerns of the artist-figure are a central issue in the work of Leonard Cohen. His novels, poems, and songs, seen as a whole, form a portrait-of-the-artist. Cohen's artist-story is crafted with attention to the romantic tradition of the Kunstlerroman but extends beyond an initial apprenticeship phase, the focus of the Kunstlerroman, offering a more extensive exploration of the artistic vocation. The artist-figure, as he develops, encounters conflicts between his vocation and the demands of the outside world. Cohen's artist-figure endeavours both to make art and to self-create, and this creative impulse is simultaneously propelled and hindered by the romantic-love relationship, by the demands of an artist's role in the public sphere, by the aesthetic requirements of art itself, and by spiritual and religious issues. The last of these four concerns provides the artist-figure with a degree of lasting comfort through its mediation of some of the ongoing internal struggles of the artistic temperament. Cohen's portrait-of-the-artist attains a degree of depth and perspective by his own artistic persona's intrusion into his work, a persona he constructs in an ironic, self-conscious, and self-reflexive fashion.
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Cristiani, Valentina. "“Ad ogni donna pensata come amore in un attimo di libertà” Fabrizio De André tra due mondi: Georges Brassens e Leonard Cohen." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/16480/.
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Il presente lavoro si propone di analizzare approfonditamente il processo traduttivo nell’opera del cantautore italiano Fabrizio De André, in quanto virtuoso esempio di traduzione etica e culturale. In modo particolare, approfondiremo in questo excursus il lascito della poetica di Georges Brassens e Leonard Cohen nella visione deandreiana, attraverso un’analisi comparativa dei brani originali in lingua francese e inglese e dei brani tradotti in lingua italiana, nell’alveo di una tematica che costituisce a pieno diritto il vero e proprio fil rouge nell’opera dei tre autori: la declinazione della figura femminile come esempio di dignità e resilienza, anche e soprattutto in contesti sociali di emarginazione.
Prenderemo, inoltre, in esame il caso specifico della traduzione della canzone d'autore, che costituisce un esempio di grande rilevanza nell'ambito traduttivo, in quanto chi è chiamato a tradurre deve possedere conoscenze ritmico-musicali di un certo spessore, oltre a competenze linguistiche e traduttive.
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Silvestre, Morgane. "Espace enfermant et identité problématique dans la littérature nord-américaine : étude sur les oeuvres de Paul Auster, Don DeLillo, Réjean Ducharme, Leonard Cohen et Michel Tremblay." Paris 3, 2001. http://www.theses.fr/2001PA030038.
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<< espace enfermant et identite problematique dans la litterature nordamericaine >> est le sujet que nous avons choisi d'analyser. Par litterature nordamericaine, il faut comprendre la litterature proprement etats-unienne ainsi que la litterature quebecoise. Toutes deux, en se fondant sur une certaine representation de l'espace, ainsi que sur la mise en lumiere de la question de l'identite se rapprochent ; tout comme les deux pays dont elles sont issues. Cette etude vise a montrer que l'espace est non seulement une thematique presente dans cette litterature nordamericaine, mais bien plus, qu'il devient un element constitutif du roman. Il agit sur les personnages qui, quel que soit le lieu dans lequel ils se trouvent, sont comme << avales >>, << engloutis >>. La question de l'identite est alors d'autant plus envisagee pour ces personnages issus d'amerique, continent jeune sans histoire, ou se pose alors la douloureuse question de se definir dans un pays (un espace) qui se cherche.
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Marcus, Alexander Warren. "Auschwitz has happened: an exploration of the past, present, and future of Jewish redemption." Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,62.
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Ch. 1: Introduction: A Destruction without Adequate Precedent. Ch. 2: Rupture and the Holy Ideal: Redemption in the Hebrew Bible. Ch. 3: Giving the Sense: The Rise of Commentary. Ch. 4: Rabbi Eliezer’s Silence. Ch. 5: Gold and Glass: Ethical Rupture in Mystical Union? Ch. 6: Our Impossible Victory.
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Berard, Jordan. ""Estimate Your Distance from the Belsen Heap": Acknowledging and Negotiating Distance in Selected Works of Canadian Holocaust Literature." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34541.
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In his 1987 essay "Canadian Poetry After Auschwitz," Michael Greenstein argues that A.M. Klein's mock-heroic poem, The Hitleriad (1944), ultimately fails to portray the severity and tragedy of the Holocaust because "it lacks the necessary historical distance for coping with the enormity" of the event (1). Greenstein's criticism is interesting because it suggests that in order for a writer to adequately represent the horrors of a traumatic event like the Holocaust it is "necessary" for him to be distanced from the event. While Greenstein specifically addresses historical (or temporal) distance, Canadian authors writing about the Holocaust have also, inevitably, had to negotiate their geographical and cultural distance from the historical event as well. Not surprisingly, their works tend to be immensely self-reflexive in nature, reflecting an awareness of the questions of authority and problems of representation that have shaped critical thinking about Holocaust literature for over half a century. This dissertation examines the role that distance has played in the creation and critical understanding of representative works of Canadian Holocaust literature. It begins with an extensive analysis of the poetry and prose of geographically-distanced poet A.M. Klein, whose work is unique in the Canadian literary canon in that it mirrors the shifting psychological state of members of the Canadian Jewish community as news of the Holocaust slowly trickled into Canada. This is followed by a discussion of the Holocaust texts of Irving Layton and Leonard Cohen, both of whom experimented with increasingly graphic Holocaust imagery in their works in response to the increasingly more horrifying information about the concentration camps that entered the Canadian public conscience in the 1960s. The dissertation then turns its attention to the uniquely post-memorial and semi-autobiographical works of two children of Holocaust survivors, Bernice Eisenstein and J.J. Steinfeld, before focusing on the Holocaust works of Timothy Findley and Yann Martel, both of whom produce highly metafictional novels in order to respond to the questions of appropriation and ethical representation that often surround works of Holocaust fiction created by non-Jewish writers. The dissertation concludes with an analysis of Anne Michaels' novel Fugitive Pieces—a text that addresses all three types of distance that stand at the center of this dissertation, and that illustrates many of the strategies of representation that Canadian writers have adopted in their attempts to negotiate, highlight, erase, and embrace the distance that separates them from the Holocaust.
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Nadel, Ira. "Leonard Cohen: "The only tourist in Havana" [audiorecording]." 1996. http://hdl.handle.net/2429/13026.
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Item consists of a digitized copy of an audio recording of a Vancouver Institute lecture given by Ira Nadel on November 16, 1996. Original audio recording available in the University Archives (UBC AT 2001).
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Dueck, Nathan Russel. ""When the word is made flesh" : Leonard Cohen live in/and performance." 2004. http://hdl.handle.net/1993/15857.
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Payette, Édith. "Enfouies suivi de Poétique de la spectralité dans Beautiful Losers de Leonard Cohen." Thèse, 2018. http://hdl.handle.net/1866/22005.
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Houk, Virginia. "The Question as an Instrument of Nationalism: Interrogating the Nation in Earle Birney, Phyllis Webb, and Leonard Cohen." 2012. http://hdl.handle.net/10222/15413.
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Through the study of selected works written by Earle Birney, Phyllis Webb, and Leonard Cohen, this thesis seeks to interrogate the wave of modern Canadian nationalism and culture construction that grew as a result of the loosening ties to British roots, the increasing infiltration of American influence, and the political climate following the Second World War. As the Cold War began to take root, Canada found itself amid not only a political conflict, but also a barrage of emerging mass media on a global scale. As a result of this crossfire of national voices, the Canadian culturati made efforts to join in the conversation—through national radio, film, literature, and the creation of a new flag and dictionary—but before the nation could speak, it had to answer the questions that dominated the era: Who is Canada? What is the voice of Canada? Whose voice speaks for the nation? This thesis aims to study the evolution of the answers that were given to these questions. Through the lens of nationalist theory, translation theory, and the postcolonial Gothic, this thesis traces a route from Birney’s attempt to create a nation within a perceived “lack of ghosts,” to Webb’s efforts to question the very question of nationalism, ultimately to Cohen’s illumination of the internal mechanics of national identity as he worked to reconstruct it in a movement toward the Clear Light.
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Dayan, Shoshana. "Poets and the Canadian Jewish community: three portraits." Thesis, 2000. http://hdl.handle.net/2429/10456.
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The central idea of this study is an examination of the transformation of the
image of the poet in different generations. My thesis problem is that the poet is dynamic,
reflecting both the self-image and reception of society at different times. I collected data
from many different sources- the primary sources were memoirs, poetry, short stories,
novels and original documents from the Canadian Jewish Congress Archives and by
speaking with historians about A.M. Klein, Irving Layton and Leonard Cohen. The
secondary sources used were scholarly books about the poets articles from the
Canadian Jewish press and documentaries. I used literary analysis for the poetry and I
took a social-historical approach in the examination of the poets' relationship to the
community and biography. The social historical approach and the literary approach
were both used in this study to analyze the succession of Canadian Jewish poets. As an
original contribution to the field, this study categorizes the three poets in a succession:
Klein is the Jewish poet, Layton is the Canadian Jewish poet and Cohen is the spiritual
guru, all reflecting the changing situation for Canadian Jews.
I examine the first generation poet in this succession of gifted Canadian Jewish
poets, A.M. Klein, the second generation, Irving Layton and the third generation poet,
Leonard Cohen. Specifically, I argue that the roles and the reception to these poets
have changed in the Jewish press as a result of changing times. As the years progress
and the situation for worldwide Jewry becomes more stable with greater tolerance in a
multicultural society, the poet moves away from the identification as a Jewish poet. In
Klein's generation he is labeled as a Jewish poet. Layton fights the label of a Jewish
poet and through controversy and celebrity he is recognized as a Canadian Jewish poet.
Leonard Cohen re-defines the category of a Canadian Jewish poet in favor of a spiritual
guru.
This study provides an overview of the times and the issues that each poet faced
in their generation. The first part of each chapter is devoted to a brief biography and an
exploration of the way the Jewish community responded to the poets in terms of roles
that they wanted them to undertake and the own reception to the poets in the local
Jewish press. It is interesting that each poet served a different function in different
generations as a response to the needs of the community. The second section of each
chapter is an examination of the poets' self-image as depicted in their writing. All of the
poets viewed themselves in the same manner, as spokesmen, controversial figures and
as modern poets similar to ancient biblical figures. This section includes the ways the
poets viewed their relationship with the community and their relationship to Judaism as a
way of shaping their self-perception.
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Wright, Wendy Ella. "Intangible gifts : a novel with accompanying exegesis ’Japan, the love story and myself’." Thesis, 2007. http://hdl.handle.net/2440/61983.
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Title page, table of contents and abstract only. The complete thesis in print form is available from the University of Adelaide Library.The story is set in a small Australian city where there are strong undercurrents of religious and racial discrimination. Rosanna, the protagonist, narrates her life through fragments of memory, drawing upon her experience as a child and young woman in Australia and Japan. Her understanding of home is a major theme in the novel.
Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2007