To see the other types of publications on this topic, follow the link: Lyrics – Literature.
Dissertations / Theses on the topic 'Lyrics – Literature'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Lyrics – Literature.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Dwyer, Rachel Madeline Jackson. "The Gujarati lyrics of Kavi Dayarambhai." Thesis, SOAS, University of London, 1995. http://eprints.soas.ac.uk/28906/.
Full textAbstract:
Kavi Dayarambhai or Dayaram (1777-1852), considered to be one of the three greatest poets of Gujarati, brought to an end not only the age of the great bhakta-poets, but also the age of Gujarati medieval literature. After Dayaram, a new age of Gujarati literature and language began, influenced by Western education and thinking. The three chapters of Part I of the thesis look at the ways of approaching North Indian devotional literature which have informed all subsequent readings of Dayaram in the hundred and fifty years since his death. Chapter 1 is concerned with the treatment by Indologists of the Krsnaite literature in Braj Bhasa, which forms a significant part of Dayaram's literary antecedents. Chapter 2 then considers studies of Dayaram by Gujarati scholars which tend to focus on him as a devotee of Krsna and a member of the Pustimarga. It also looks at literary criticism of his writings in the context of the Gujarati literary world. Chapter 3 discusses Dayaram's lyrics from an Indological perspective, concentrating on form and language. Part II puts forward a new approach to a study of Dayaram's lyrics. Chapter 4 argues that these texts deserve treatment as literary texts in their own right and suggests a reading informed by the thought of Mikhail Bakhtin (1895- 1975). Chapter 5 discusses Dayaram's lyrics in the light of Bakhtin's concept of the camivalesque, Chapter 6 looks at the functions of chronotopic features in the lyrics. Part III is a selection of Dayaram's lyrics. The Gujarati texts are given in Roman transliteration, followed by literal translations into English. A full bibliography of primary and secondary sources consulted is included. The thesis introduces a poet scarcely known to western scholars and makes a selection of his work available to those who do not know Gujarati. It examines a number of approaches which have conventionally been brought to bear on literature of this kind. It finds much which is valuable in them but highlights some of their limitations for a study of this poet; a new critical approach from literary theory, using the ideas of Bakhtin (in particular those of the carnivalesque and the chronotope) allows the thesis to re-examine the position of Dayaram in the history of Gujarati literature.
2
Woollam, Angela M. "The rhetorical art of some Vernon refrain lyrics." Thesis, University of Ottawa (Canada), 2001. http://hdl.handle.net/10393/6051.
Full textAbstract:
The dissertation considers how the anonymous authors of six moral and religious pseudo-ballade refrain poems first attested in the late fourteenth-century Vernon manuscript (Oxford, Bodleian Library, MS. Eng. poet.a.1) manipulate devices such as speaking persona, word-play, and allegory in ways that support rhetorical strategies hitherto unrecognized in Middle English lyric. The study begins with stemmatic analyses that identify, as far as is possible from the physical record, the archetypal text, or "work," of each poem. Chapter One then provides an overview of scholarship that has focussed on two important technical devices used in the Vernon refrain lyrics-the speaking voice and the refrain---and articulates how the lyrics use those devices in hitherto unrecognized ways. Chapter One concludes by considering the kinds of word-play found in other Middle English literature, in order to define that found in the Vernon lyrics. In the next six chapters, each of the six "works" is considered as a communicative event. Using mainly historicist, formalist, and reader-response methodologies, I explore, for each poem in turn, how the poet moulds language to signify indirectly so that the message is communicated figuratively, and how the implied audience is cast into a specific role vis-a-vis the communicative action in a way that inflects the message. I also explore how the rhetorical strategies of the poems are informed by various theories of signification, which are defined in relation to the socio-linguistic circumstances and philosophical currents of the time, and consider the poems in relation to other medieval, mostly earlier Middle English, lyrics. In the Conclusion, findings are assembled to indicate how the recovery of the Vernon refrain lyrics' rhetorical art expands the parameters that currently define Middle English lyric. I also turn from considering the implied audience of the "works" to considering the historical audience of the Vernon manuscript, and suggest that the recovery of the Vernon refrain lyrics' rhetorical art bolsters theories that maintain the Vernon manuscript was intended, at least in part, for an upper gentry or aristocratic audience, and that its thorough Englishness is more of a polemic assertion of the strength of the English language than a reflection of socio-linguistic conditions.
3
Masera, Cerutti Maria Ana Beatriz. "Symbolism and some other aspects of traditional Hispanic lyrics : a comparative study of late medieval lyric and modern popular song." Thesis, Queen Mary, University of London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321657.
Full text
4
Rogers, Janine. "The woman's voice in Middle English love lyrics /." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69671.
Full textAbstract:
Courtly love lyrics, like other courtly genres, are dominated by male-voiced texts that privilege male perspectives. In conventional courtly love lyrics, women are silenced and objectified by the male speaker. Still, a handful of women-voiced lyrics--"women's songs"--exist in the courtly love lyrical tradition. This thesis studies women's songs in Middle English and their role in the androcentric courtly love tradition.<br>In the first chapter, I discuss critical perspectives on conventional courtly representations of women. In the second chapter, I locate Middle English women's songs in literary contexts other than courtly love: the Middle English lyrical tradition, the cross-cultural phenomenon of medieval women's songs, and the manuscript contexts of Middle English women's songs. In Chapter Three, I discuss the individual songs themselves and examine the range of perspectives found in woman-voiced lyrics.<br>My discussion of Middle English women's songs includes texts not previously admitted to the genre. This expanded collection of women's songs creates an alternative courtly discourse privileging female perspectives. Middle English women's songs create a space for women's voices in courtly love.
5
Dunham, Phyllis M. "The People's Poets: Literature Born of the Texas Singer-Songwriter Movement of the Last Forty Years." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2212.
Full textAbstract:
The People’s Poets of Texas: Literature Born Within the Singer/Songwriter Tradition of the Last Forty Years is a creative nonfiction exploration of the poetry found within the songs of multiple generations of modern Texas singer/songwriters and a case for the consideration of their work as a genuine regional literature. Studying the roots of Texas music, the musicality of Texan manners of speech and storytelling, and re-examining the Austin, Texas music scene of the 1970s that brought a national focus to the organic, reciprocal manner in which Texas music is traditionally experienced, radically altered the ways in which the songs were written, recorded, and marketed. An examination of this phenomenon allows us to understand that, first, a proliferation of Texas singer/songwriters of unprecedented quality has emerged in recent decades and that, second, a legitimate people's literature is emerging from their song-craft.
6
Ngg, Genice Yan-Yee. "The inconstant "I" and the poetics of seventeenth-century libertine lyrics /." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42109.
Full textAbstract:
The dissertation argues that libertine first-person lyrics of seventeenth-century England reveal a coherent literary strategy in formal, thematic, and ideological terms. My focus is the libertine poems of Donne, Suckling, Carew, Lovelace, and Rochester. I situate the lyrics in a period of historical change, an age of epistemological and ontological questioning. Libertine lyrics concern inconstancy on various levels, from the sexual to the ontological, and they explore the problems of freedom, human nature, identity, and individualism. I argue that the libertine's inconstant selfhood is a creative "solution" to a historical dilemma. This conception of inconstant selfhood is also a response to courtly prescriptions of the behavior of poets and courtiers, a way of claiming an authoritative voice and individualistic freedom. My examination of seventeenth-century libertine lyrics shows that, as part of a transitional age, the poems manifest a contradictory character and they reveal an ideological inconsistency. However, in the final analysis, the imaginative answer to the period's problem of mutability and displacement that libertine lyrics offer turns out to be unsatisfactory. In tracing the development of seventeenth-century libertine lyrics, I suggest that the poems constitute an experimental and transitional development in the lyric tradition of male confessional desire.
7
Laurer, Janin. "The translation of song lyrics in popular music : German lyrics and their translation into English." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-79882.
Full textAbstract:
This study investigates the translation of song lyrics and presents an analysis of translation outcomes. While the majority of previous studies regarding song translation focuses on the translation of lyrics from musicals and operas, this study focuses on the translation of popular song lyrics. The lyrics of eight German songs and their English versions were analysed using the approximation approach (Franzon 2009) which divides smaller textual units into the categories paraphrase, metaphrase and addition. The target texts (henceforth TT) were also categorised according to Peter Low’s (2013) song translation categories, translation, adaptation and replacement text. The aim of this study is to determine to what degree the meaning of the source texts (henceforth ST) is transferred into the TTs and to determine how Franzon’s approximation approach can be used to determine if the TTs are translations, adaptations, or replacement texts. This study found that all TTs were mostly made up of paraphrases and metaphrases, which means that all TT derived to most parts directly from the STs i.e. the TT was written using mostly direct and oblique translations. Due to the low frequency of additions and all significant details of the STs being transferred into the TTs, all song translations analysed in this study were categorised as translations.
8
Sadedin, Ann. "The uncentred self : image and awareness in the Middle English religious lyrics /." Connect to thesis, 1995. http://eprints.unimelb.edu.au/archive/00000220.
Full text
9
Cannata, Nadia. "The printed transmission of lyrics in Italy from 1470 to 1530 : the book of verse." Thesis, University of Oxford, 1991. https://ora.ox.ac.uk/objects/uuid:7c18808a-cc18-40ce-872e-e98526dbce8f.
Full textAbstract:
The present work catalogues, describes and discusses the production in print of vernacular poetry in Italy from the editio princeps of Petrarch's Canzoniere (1470), to Bernbo's Rime (1530). The chronoloqical span considered encompasses radical transformations which took place in the world of literature, and which regarded both questions of text-transmission (the passage from script to print and the establishment of a sound printing trade) and literary transformations stricto sensu: the birth of a vernacular Literature, of a vernacular Language and of vernacular literary genres. The thesis investigates the typographic development of the book of verse, to see how it affected the nature and contents or the texts carried and ultimately also the definition of the canzoniere genre as the privileged, "official" form of writing poetry. Attention is focused both on the letter and structure of the texts and on the bibliographical environment in which they travelled. The thesis is therefore divided into two parts: Part one Writing and printing vernacular verses: towards the definition of a literary genre, discusses the production of vernacular poetry in the fifteenth- and early sixteenth-century in its historical context and in the forms of its production. collection and publication. Part two: The book as a material object, deals more directly with bibliographical questions. A Short-title Catalogue of all the book of verse printed in Italy in Italian vernacular between 1470 and 1530 and a Descriptive Catalogue, providing the bibliographical descriptions of roughly half of the editions listed in the Short-title Catalogue appear at the end of Part one and Part two respectively. The work is completed by a Chronological index of the editions and by an Index of printers and printing centres.
10
McGuire, Mary Sweatt. "Making the lyrics sing for struggling readers : an insider's view /." ProQuest subscription required:, 2004. http://proquest.umi.com/pqdweb?did=990276031&sid=1&Fmt=2&clientId=8813&RQT=309&VName=PQD.
Full text
11
Green, Brian. "Penned in the first person : setting and theme in the lyrics of Thomas Hardy." Doctoral thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/21810.
Full textAbstract:
Bibliography: pages 240-258.<br>This thesis arises from the conviction that the Hardyan quality of mind, a mind at once tentative and courageous, is of supreme importance in our time and is most distinctly and decisively present in Hardy's short poems. The chief aim of this thesis has been to offer students of Hardy thematic and aesthetic guidelines for reading his poems so as to encounter that quality of mind first-hand. In order to develop those guidelines, I have rooted them in primary materials and biographical details germane to demonstrating Hardy's achievement as a poet. The main title of this thesis, for instance, is meant to emphasise the complex relationship between the poet and the man: culled from the preface of his third volume of verse, Time's Laughingstocks and Other Verses, the simple yet apposite phrase, "penned in the first person," is the invention of Hardy himself.
12
Malloy, Bronwyn. ""Measure me in metered lines": unreliable narration and the hermeneutics of narrative identity in contemporary 'Indie' song lyrics." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=123324.
Full textAbstract:
In the interest of exploring the hermeneutics of narrative identity in popular song lyrics, that is, the textual process by which a song's narrator imparts their story to the listener, this thesis examines a specific generic and temporal group of 'narrative' song lyrics against the branch of narrative theory relating to unreliable narration. Theories of unreliable narration have been selected as this study's key theoretical framework both because the area is central to contemporary literary studies (Nünning 2005: 2), and because, like song lyrics themselves, theories of unreliable narration problematize the notion of a unidirectional flow of meaning from the speaker/implied author to the reader/listener. Thoughtful, well-researched, highly literate (and often literary) lyrics are a central facet of the "indie music" genre's aesthetic. In this thesis I will therefore primarily focus on two of the indie music scene's most critically lauded lyricists, Colin Meloy of American indie-prog-rock band The Decemberists and John K. Samson of Canadian indie-folk-punk band The Weakerthans. Both Meloy and Samson's lyrics, I suggest, not only withstand such close critical scrutiny, but actually invite it. Demanding (and, arguably, enforcing) a new contract with the listener, Meloy and Samson's lyrics are representative of a larger shift in what an 'ideal' audience looks like in indie music, from casual listeners to an active (Schafer; Nancy), practiced, and critical audience. Engaging with a range of literary theoretical and musicological texts, the broad intentions of this project are to explore the formal complexities of first-person narration in contemporary indie song lyrics and to simultaneously diversify the potential scope for the application of theories of unreliable narration.<br>"Measure me in metered lines": Narration non-fiable et les herméneutes d'identité narrative dans les paroles de chansons 'Indie' contemporaines Dans l'intérêt d'explorer les herméneutes d'identité narrative dans les paroles de chansons populaires, c'est-à-dire le procès textuel par lequel le narrateur d'une chanson partage leur histoire avec l'auditeur, cette thèse examine un groupe de paroles narratives d'une convention de genre et de temporalité particulière, à l'encontre de théorie établie concernant la narration non-fiable. Des théories de narration non-fiable ont été sélectionnées en tant que cadre théorique principal, car ce domaine est central aux études de littérature contemporaine (Nünning 2005 :2) et car, comme les paroles elles-mêmes, les théories de narration non-fiable rendent problématique l'idée de flux unidirectionnel du message transmis par l'orateur/l'auteur impliqué au lecteur/auditeur. Les paroles réfléchies, soutenues par de la recherche et littéraires sont primordiales à l'esthète du genre musical indie. Donc, cette thèse ce concentre principalement sur deux des auteurs lyriques les plus célébrés de la scène indie : Colin Meloy de The Decemberists, un groupe américain de musique indie-rock-prog et John K. Samson de The Weakerthans, un groupe canadien de musique indie-folk-punk. Je propose que Meloy et Samson font plus qu'endurer l'examen critique minutieux de leur paroles et vont jusqu'à l'inviter. En demandant (et possiblement en l'imposant) un nouveau contrat avec l'auditeur, les paroles de Meloy et Samson sont représentationnelles d'un mouvement par lequel les auditeurs de musique indie « idéaux » se transforment d'écouteurs décontractés en écouteurs actifs (Schafer; Nancy), pratiqués et critiques. Engageant dans une gamme de théorie littéraire et de textes de musicologie, les vastes intentions de ce projet sont l'exploration des complexités formelles des récits à la première personne dans les paroles de musique indie contemporaine et, également, de diversifier l'application des théories de narration non-fiable.
13
Larsson, Per-Erik. ""Historieskrivningens urval är alltid ett ställningstagande i sig" : En analys av bildspråk och historieskildring i de två versionerna av Sabatons Carolus Rex." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-69969.
Full text
14
Silvio, Carl. "The institutional production of literary value studies of African-American popular music lyrics and the avant-garde /." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=2061.
Full textAbstract:
Thesis (Ph. D.)--West Virginia University, 2001.<br>Title from document title page. Document formatted into pages; contains iii, 310 p. Includes abstract. Includes bibliographical references (p. 301-310).
15
Hamid, Kabir. "Word is Born: Critical Gaps and the Poetics of Hip-Hop." Oberlin College Honors Theses / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1411127767.
Full text
16
Wärn, Anton. "Adapting THIEVES in the ESL classroom : Adapting a pre-reading strategy using lyrics in the ESL classroom." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-39435.
Full textAbstract:
The aim of this essay is to test how a teacher can use a pre-reading strategy in the ESL classroom. The pre-reading strategy will be used with song lyrics instead of the usual classroom textbooks. The reaserch questions for this essay are Does the pre-reading strategy “THIEVES” give any results when teaching English as a second language in the classroom? Can any results be discerned after six weeks of working with this pre-reading strategy in a Swedish ESL classroom context? Do students find it easier to work with song lyrics rather than other types of texts?
17
Freire, Eunice Rocha. "A tradição romântica na construção das imagens na poesia de Cecília Meireles." Programa de Pós-Graduação em Letras e Linguística da UFBA, 2005. http://www.repositorio.ufba.br/ri/handle/ri/11599.
Full textAbstract:
Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-14T17:25:25Z
No. of bitstreams: 1
Dissertacao Eunice Freire.pdf: 333413 bytes, checksum: 436753f19952a970afb5626294e1047f (MD5)<br>Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-06-04T16:51:17Z (GMT) No. of bitstreams: 1
Dissertacao Eunice Freire.pdf: 333413 bytes, checksum: 436753f19952a970afb5626294e1047f (MD5)<br>Made available in DSpace on 2013-06-04T16:51:18Z (GMT). No. of bitstreams: 1
Dissertacao Eunice Freire.pdf: 333413 bytes, checksum: 436753f19952a970afb5626294e1047f (MD5)
Previous issue date: 2005<br>A presente dissertação tem como objetivo estudar a lírica de Cecília Meireles (1901-1964) a partir da hipótese de que a autora é herdeira do Romantismo. Uma argumentação favorável a esta tese é o fato de Cecília Meireles ter se distanciado da vertente modernista revolucionária de seu tempo, preferindo as fontes tradicionais românticas como motivação para a sua poesia. Tomamos como objeto de estudo, a obra poética Viagem, livro-chave na obra da escritora, prêmio de poesia da Academia Brasileira de Letras de 1938 e publicado em Lisboa, em 1939. Em Viagem, o poeta revela o cantar subjetivo, reflexivo, meditativo e nostálgico que é facilmente encontrável na poesia romântica do século XIX. A adesão a moldes tradicionais engendra a musicalidade, harmonia formal e organização equilibrada e deixa patente a preocupação estilística que abre caminho para a riqueza temática da lírica de Cecília Meireles. As imagens poéticas derivam do repertório do Romantismo: “noite”, “estrelas”, “vento”, “flor”, “tempestade”, e ainda outras ligadas ao instantâneo, ao fugaz , ao ilusório e ao sonho, que compõem o universo de temas da poesia ceciliana de raiz romântica. No modernismo brasileiro, Cecília Meireles engajou-se à vertente conservadora, ligada à revista Festa, que buscava a renovação da literatura brasileira, mas não abria mão das heranças culturais. Acolhia os recursos da métrica e do verso livre decadentista, distanciando-se das propostas da vanguarda modernista da Semana de Arte Moderna de 1922. Dessa forma, é possível entender o perfil da poesia de Cecília Meireles, entre o modernismo e a herança da tradição romântica, acenando com os dilemas do homem moderno e manejando os metros tradicionais e produzindo uma obra relevante para as letras nacionais, sendo considerada uma das maiores expressões do cânone literário brasileiro do século XX.<br>Salvador
18
Hamman, Frans Josias. "Sarah Kane en die liriek as literêr-musikale interteks." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6475.
Full textAbstract:
Thesis (MDram)--University of Stellenbosch, 2011.<br>AFRIKAANSE OPSOMMING: Die literêre interteks staan sentraal tot die teks-analitiese proses en die gevolglike ontsluiting
van betekenis binne die oeuvre van Sarah Kane, maar in die huidige besprekings van haar
werk, word hierdie interteks alleenlik tot literatuur soos die roman, die gedig en die teaterteks
beperk. Die gevolg is dat daar ‘n totale verontagsaming van die neerslag van die liriek as nóg
‘n tipe literêre interteks is. Beide James Macdonald (in Fisher 2001b) en Iain Fisher (2001b)
dui daarop dat lirieke van heelparty orkeste - o.a. Joy Division, Radiohead, Nirvana en die
Beatles - in Kane se werk nagespeur kan word, maar geeneen blyk ondersoek na die
moontlike redes vir die ontlening daarvan óf hoe dit die betekeniswaarde van haar werk
informeer, in te stel nie. Deur op Still en Worton (1990:1-2) se teorie dat die leser van ‘n teks
sy/haar eie intertekste op daardie teks van toepassing kan maak in ‘n poging om die betekenis
daarvan te ontsluit (selfs al word betrokke intertekste nie noodwendig deur die skrywer erken
nie), te trek, word daarop gedui waar en hoe verskeie lirieke van voorgenoemde vier orkeste
hul neerslag in vier van Kane se dramas, Phaedra’s Love, Cleansed, Crave en 4.48 Psychosis
vind. Na gelang van Michael Riffaterre (1990:58) se teorie omtrent “connectives” (in hierdie
geval die lirieke wat Kane se tekste met liedjies uit die populêre kultuur verbind) en hoe ‘n
deeglike voorkennis daaromtrent die leser daartoe in staat stel om te bepaal of betrokke
“connective” wel die teenwoordigheid van ‘n interteks daarstel al dan nie, word ‘n deeglike
studie van elkeen van die lirieke gedoen. Daarna word verskeie raakpunte tussen hierdie
lirieke en Kane se tekste uitgewys, hetsy dit met onderwerpmateriaal of tematiek verband
hou, sodat ge-argumenteer word dat hierdie lirieke wel as intertekste beskou kan word.
Vervolgens word die betekenisse van die onderskeie lirieke op Kane se dramas (spesifiek die
tematiek daarvan) van toepassing gemaak en daar word ge-argumenteer dat hierdie
intertekste óf bestaande beskouings daarvan ondersteun en moontlik daarop uitbrei óf dat dit
tot radikaal nuwe insigte omtrent haar werk aanleiding gee, sodat nuwe en oorspronklike
benaderings tot tematiek en karakters in die toekoms gevolg sou kon word. Uiteindelik
illustreer ek aan die hand van my meestersproduksie empty (2010) hoe ek my benadering tot
die neerslag van die liriek as interteks in Kane se werk op genoemde produksie van
toepassing gemaak het, sodat die betekenis daarvan ook na gelang van die liriek as interteks
duidelik word.<br>ENGLISH ABSTRACT: The intertextual relationship between Kane’s own work and those literary sources she derives
ideas and adopts words from, plays a vital part in the textual analysis of her oeuvre.
However, current discussions about and analyses of this intertextual relationship only focus
on the novel, the poem and the play as literary intertexts and their subsequent influence on
the interpretation of her work. This results in a complete disregard for the lyric’s use as
another type of literary intertext (where the lyric is to be understood as the written and not the
sung word). James Macdonald (in Fisher 2001b) and Iain Fisher (2001b) both refer to the
presence of lyrics from various bands - among them Joy Division, Radiohead, Nirvana and
The Beatles - in Kane’s work, but neither of them preoccupy themselves with the further
investigation as to why these lyrics have been borrowed or how they inform the interpretation
of her work. Drawing on Still and Worton’s (1990:1-2) theory that “the reader’s experience
of some practice or theory unknown to the author may lead to a fresh interpretation” of any
given text he/she reads (i.e. where the reader applies the knowledge about his/her own
intertexts in an attempt to decipher the meaning of the text he/she is currently reading or
studying), a clear indication of where and how various lyrics from aforementioned bands can
be found in four of Kane’s dramas: Phaedra’s Love, Cleansed, Crave and 4.48 Psychosis.
Based on Michael Riffaterre’s (1990:58) theory of “connectives” (in this case those lyrics
which establish a connection between Kane’s plays and songs from popular culture) and how
proper foreknowledge about these “connectives” can help in determining whether they do
establish an intertextual relationship between the play and the song(s) or not, a thorough
study of every lyric is undertaken and various similarities between them and Kane’s plays are
highlighted. Based on these similarities (whether it be with regard to themes, subject matter
or characterization), arguments are made that these lyrics should be viewed as intertexts, and
the meanings and analyses of these lyrics are subsequently applied to Kane’s work. In the end
these literary intertexts either support existing views and interpretations of her work, or they
lead to radically new insights about the work, so that new, innovative and original approaches
can henceforth be followed with regard to themes and characterization in her work. Finally I
use my own master’s production, empty (2010), as an example to illustrate how I applied the
research I have done about the lyric as an intertext in Kane’s work, on my own work and how
these various lyrics help to give a better understanding of the play.
19
Forsberg, Jacob. "”Inspiration är svårt att finna. Du måste ta den där du hittar den.” : En analys av det medvetna bruket av intertextualitet i Bob Dylans låttexter mellan 1963–65." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-48049.
Full textAbstract:
Uppsatsen belyser delar av komplexiteten i Bob Dylans författarskap via en analys av det medvetna bruket av intertextualitet i sex låtar från tre olika album, alla från mitten av 1960-talet. Det klarläggs att Dylan inte kan förenklas till endast alluderingar till Shakespeare, utan att författarskapet innehåller en hög grad av komplexitet. Syftet är alltså att visa på låtskrivarens medvetna influenser, alluderingar, citat, omskrivningar och satir och hur det påvisar tesen. Analysexemplen, som de framstår via det litteraturvetenskapliga verktyget, påvisar olika kopplingar. Även om författaren är komplex från första texten utvecklas poeten från att referera till folktraditionen till att alludera till författare som Edgar Allen Poe, William Blake, Dylan Thomas och Allen Ginsberg i de senare exemplen.<br>This essay highlights parts of the complexity in Bob Dylan’s authorship via an analysis of the conscious usage of intertextuality in six songs from three different albums, all from the middle of the 1960’s. It is elucidated that Dylan’s lyrics cannot be simplified as only allusions to Shakespeare and it is shown that the lyrics contains a high level of complexity. The purpose is to display the author’s conscious use of references such as allusions, quotes, euphemisms and satire and show how those supports my thesis. The texts, as they are perceived through intertextuality, shows different connections. Even though the author is complex from the first example to the last, it is shown in this essay that he progresses from referring to the old folk music tradition to alluding to authors such as Edgar Allen Poe, William Blake, Dylan Thomas and Allen Ginsberg in the later examples.
20
Kähäri, Malin. "Hur kan lyrik berika svenskämnet på gymnasiet? : En litteraturstudie." Thesis, Högskolan i Gävle, Svenska språket och genusvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-24495.
Full textAbstract:
Denna studie utreder hur lyrik som genre kan berika svenskundervisningens didaktik på gymnasiet, vilka didaktiska metoder som kan tillämpas på lyrikundervisningen, samt vad som kan vara ett representativt urval lyrik för ungdomar. Undersökningen består av en kvalitativ litteraturstudie som utvärderades genom en diskursanalys, samt tolkningen av ett lyriskt urval. Studiens resultat påvisade att lyrik kan berika svenskämnets didaktik på gymnasiet, då språkutvecklingen främjas. Detta ger sig i uttryck genom att elever i lyrikundervisningen får möjlighet att reflektera både över sina egna och andras känslor och erfarenheter, vilket kan fungera som identitets- och personlighetsutveckling. Undersökningen har även påvisat att lyrikundervisningen berikar med kunskap om viktiga delar av kulturarvet, samt friheten att utforska språk och stil i skrivandet av egna dikter. Vidare bör lyrik appliceras på en läsarorienterad undervisining, då denna fokuserar på den enskilde läsarens personliga upplevelser av texten, vilket kan väcka intresse och mening för genren. Slutligen har undersökningen påvisat att det inte finns några givna svar rörande vad som kan användas som representativ lyrik för ungdomar i undervisningen, då genren ger uttryck för känslor, vilka bör betraktas som tidlösa och allmänmänskliga. Således är det lärarens uppgift att avgöra vad som kan vara relevant lyrik för ungdomar, baserat på vilken slags diskussion som ska föras och vilken insikt som önskas uppnås.<br>The study researches how lyrics as a genre could be used to enrich the Swedish education in upper secondary school, which didactic methods that can be applied to teachings of lyrics and what could be used as a good representation of lyrics for youths. The study includes a study of literature that was evaluated through a discourse analysis and interpretations of lyrical choices. The result of the study showed that lyrics can be used to enrich the didactics of the Swedish subject in upper secondary school as the language development was improved. This was shown as students who studied lyrics gets the opportunity to reflect upon both their own and others' emotions and experiences, which can be used as a tool for the development of self and identity. The study has further shown that studies of lyrics also enrich students with knowledge about important parts of the cultural inheritance and the freedom to explore language and style through the writing of their own poems. Furthermore, lyrics should be applied to a reader oriented education as it focuses on the individual readers' experience of the text, which could awaken interest and purpose for the genre. Finally, the study has shown that there are no given answers regarding what could be used as a representative lyrics for youths in the education as the genre provides the opportunity for the readers to express emotions which should be thought of as timeless and universal. Because of this, it is the teachers task to choose what could be regarded as relevant lyrics for youths based on what kind of discussion will be held and what kind of insight that should be achieved.
21
Cardoso, Gisele Luz. "Reading song lyrics." Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/101905.
Full textAbstract:
Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente.<br>Made available in DSpace on 2013-07-15T23:30:33Z (GMT). No. of bitstreams: 1
225080.pdf: 1691776 bytes, checksum: b444ad91b97f4e937499891dee809ec2 (MD5)<br>Este estudo examinou como fala-em-interação em pequenos grupos se desenvolve dentro de uma sala de aula de Inglês como língua estrangeira em uma escola pública de Florianópolis. Para este fim, duas perguntas de pesquisa foram feitas. A primeira perguntou como alunos de Inglês como língua estrangeira fazem sentido de expressões metafóricas (Vieira, 1999c) que eles encontram em letras de música, e a segunda investigou o papel de scaffolding (Wood, et al, 1976) na co-construção de significados de expressões metafóricas. O processo metafórico de assistência com andaimes (scaffolding) foi estudado através de protocolos do pensar alto em grupos onde as verbalizações são mais conscientes (Ericsson & Simon, 1987). Um estudo qualitativo e microetnográfico (Watson-Gegeo, 1988) foi aplicado através de métodos de triangulação, dentro de uma pesquisa-ação. Os resultados mostraram que as expressões metafóricas são rapidamente compreendidas por alunos de Inglês como língua estrangeira através de trabalhos em grupos. Além disso, os resultados mostraram que alunos do ensino médio precisam se sustentar na sua língua materna a fim de co-construirem significados de vocabulário novo e, então, processar as expressões metafóricas. Estes resultados apontam para os benefícios do trabalho em grupos e a necessidade de se incorporar consciência metafórica nas salas de aula de inglês como língua estrangeira junto com assistência através de andaimes (Nardi, 1999).
22
McRae, Calista Anne. "Lyric as Comedy." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493550.
Full textAbstract:
Although the twentieth-century lyric poem might seem to intensify a genre of sentiment into a genre of meditative or tumultuous solipsism, John Berryman, Robert Lowell, A. R. Ammons, Lucie Brock-Broido, and Terrance Hayes write lyrics that are funny, on several planes. Each of these poets enacts a self-revealing comedy of the mind and its often labored, blinkered, or illogical cognitive processes; each also creates a comedy of style, where language and form exceed and confound paraphrase. This thesis brings out such comedies, arguing that lyric is a livelier, more paradoxical, and certainly less solipsistic genre than is yet recognized. While most theories of the comic emphasize superiority, incongruity, or subversion, lyric poetry suggests that comedy originates in something miraculously apt and failed, at once: the comedy of lyric springs from deflected, or misdirected, perfection, and from the miraculous achievement of a less-than-sublime end. Berryman, who sets formal wildness in a fixed stanza, provides an opening instance of how comedy balances between the decidedly flawed and the marvelous. Lowell’s incongruities, which undermine every quality that threatens to dominate a poem, surprise by the unlooked-for harmonies they produce. Ammons turns his concerns about inarticulate failing into a comedy of ineptness, enacting the workings of an inconsistent mind with precision. Brock-Broido’s humor appears as utter doubleness, requiring that we see the beautiful and the ludicrous together; her comedy does not extinguish her Romantic postures, but suffuses them. Hayes enacts the luck of the erratic, associative mind, as it takes in, is altered by and transforms its surroundings: disparate styles, tones, devices, and allusions come together to convey something beyond their semantic point.<br>English
23
Bojana, Vujin. "Poezija britanske popularne kulture 20. veka: poetika i hermeneutika." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2014. http://www.cris.uns.ac.rs/record.jsf?recordId=90693&source=NDLTD&language=en.
Full textAbstract:
Tema ovog rada jeste poezija britanske popularne kulture dvadesetog veka, odnosno, stihovi pop i rok pesama britanskih muzičkih autora. Polazna teza disertacije jeste to da se tekstovi popularnih pesama mogu smatrati poezijom, te da se uobičajene metode koje se koriste pri analizi tradicionalnog pesničkog stvaralaštva mogu upotrebiti i kada je reč o pop i rok tekstu.Iako se popularna muzika odavno posmatra kao bitan činilac u kulturi dvadesetog i dvadeset prvog veka, i kao takva jeste predmet brojnih kritičkih studija, primećuje se iznenađujuća činjenica da se te studije uglavnom bave njenom kulturološko-sociološkom ulogom, zbog čega je i istražuju upravo iz tog ugla. Za razliku od njih, ovaj rad se usredsređuje na pesničke elemente popularne muzike (poetika), i to tako što ih tumači kao i svaki drugi književni tekst (hermeneutika). Ponekad se ovoj analizi dodaje i muzikološka, jer se značenje popularnih pesama stvara kombinacijom tekstualnog i muzičkog aspekta.U odabiru bendova koji su postavljeni u središte analize od velike koristi bila je teorija Kira Kitlija (Keir Keightley) o romantičarkoj i modernističkoj autentičnosti popularne muzike. S obzirom na to da su studije popularne muzike uglavnom posvećene romantičarsko autentičnim stvaraocima, predmet istraživanja ove disertacije jesu tri modernističko autentične grupe, a to su Bitlsi (The Beatles), Kvin (Queen) i Mjuz (Muse). Njihovi tekstovi su tematski podeljeni u četiri grupe: pesme o ljubavi, narativne pesme, pesme o unutrašnjem svetu i pesme o spoljašnjem svetu; i analizirani su u skladu sa takvom podelom.Nakon izvršene analize, izveden je zaključak da se tekstovi rok i pop pesama uistinu mogu smatrati poezijom, čak i kada stihovni element neke pesme služi pre svega kao pratnja muzičkom. Na ovaj način, utvrđeno je da pop i rok poeziji i te kako pripada mesto u širokoj i raznorodnoj oblasti pesničkog stvaralaštva.<br>The topic of this research was the poetry of 20th century British popular culture, i.e., the lyrics of pop and rock songs written by British authors. The basic thesis of the dissertation was the idea that popular music lyrics can be considered to be poetry, and that the usual methods used to analyse traditional poetry can thus also be used in the analysis of pop and rock lyrics.Even though popular music has long been considered a valuable factor in the 20th and 21st century culture, therefore being the topic of numerous critical studies, most of these studies have, surprisingly, been focused almost exclusively on the culturological and sociological importance of popular music and have thus approached it accordingly. This research is instead focused on its poetical elements (poetics), interpreting them as it would any other kind of literary text (hermeneutics). Sometimes, musicological element is also added to the analysis, given that the meaning of popular songs is created by the combination of both text and music.Keir Keightley’s theory of Romantic and Modernist authenticity in music has been greatly helpful in choosing the bands on which the research was to focus. Since popular music studies mostly deal with Romantic authenticity, three bands which display Modernistviiauthenticity – The Beatles, Queen, and Muse – were here chosen as subjects instead. Their lyrics were divided into four thematic groups: songs about love, narrative songs, songs about the inner world, and songs about the outer world; they were analysed according to these thematic focuses.After the analysis was done, the following conclusion was drawn: pop and rock lyrics can indeed be considered poetry, even when the textual element is only secondary to the musical one. It has thus been proved that pop and rock texts should be regarded as part of the vast and varied area of poetry in general
24
Viñolas, i. Solés Mariona. "Lírica trobadoresca a la Corona d'Aragó: estudi de casos." Doctoral thesis, Universitat de Girona, 2017. http://hdl.handle.net/10803/668984.
Full textAbstract:
The PhD entitled "Troubadour Lyrics in the Crown of Aragon: case study" offers a detailed census of all those troubadours for whom a link has been proposed with the Crown of Aragon, with fundamental information about the reigns of contact –those who welcomed and promoted, precisely, the Occitan lyric; that is, the reigns of Alphonse I the Chaste, Peter I the Catholic, James I the Conqueror and Peter II the Great-, the compositions that underpin their inclusion in this census and data related to their own pieces. Some issues that exemplify the Occitan case in the Crown of Aragon, and which we have defined as "cases", are, for example, the analysis of the "Catalan" word in lyrical troubadour, an analysis in courtesy terms, more than not in geographic terms. Undoubtedly, the figure of Peire Vidal as the greatest exponent of the lyrical in the times of Alphonse I is one of the most important cases in this PhD, given the magnitude of his work and the long distance that the same troubadour does all around most significant courts of the moment. In this sense, we offer a proposal for the dating of his work related to the Crown of Aragon and, at the same time, a re-reading of it. Finally, the last case exposed to the PhD deals with the figure of Peter II the Great, as a patron. In this case, the image of the monarch, often in the shadow of the golden age of his father, James I, has not been appropriately valued or, at least, his work as a patron was not considered, as we said, which could well resemble that of his great-grandfather, Alphonse I the Chaste<br>La tesi titulada “Lírica trobadoresca a la Corona d’Aragó: estudi de casos” ofereix un cens detallat de tots aquells trobadors per als quals s’ha proposat algun vincle amb la Corona d’Aragó, amb informació fonamental sobre els regnats de contacte –aquells que van acollir i promoure, precisament, la lírica occitana; això és, els regnats d’Alfons I el Cast, Pere I el Catòlic, Jaume I el Conqueridor i Pere II el Gran-, les composicions que fonamenten llur inclusió en aquest cens i dades relatives a les pròpies peces. Algunes qüestions que exemplifiquen el cas occità a la Corona d’Aragó, i que hem definit com a “casos”, són, per exemple, l’anàlisi del mot “català” en la lírica trobadoresca, una anàlisi en termes cortesos, més que no pas en termes geogràfics. Sens dubte, la figura de Peire Vidal com a màxim exponent de la lírica en temps d’Alfons I és un dels casos més rellevants en aquesta tesi, donada la magnitud de la seva obra i el llarg recorregut que el mateix trobador fa arreu de les corts més significatives del moment; en aquest sentit, oferim una proposta de datació de l’obra relacionada amb la Corona d’Aragó i, alhora, una relectura de la mateixa. Finalment, el darrer cas exposat a la tesi tracta la figura de Pere II el Gran, en tant que mecenes; en aquest cas, la imatge del monarca, sovint a l’ombra de l’època daurada del seu pare, Jaume I, no ha estat prou valorada o, si més no, no se n’havia contemplat la tasca de mecenes, com dèiem, que bé podria assemblar-se a la del seu besavi, Alfons I el Cast
25
Allen, Edward Joseph Frank. "Lyric technologies : the sound media of American modernist poetry." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708318.
Full text
26
Nuernberger, Kathryn L. "Rag and Bone: Poems." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1312926732.
Full text
27
Swann, Marjorie E. "Aspects of Herrick's lyricism." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314430.
Full text
28
Weingarten, Jeffrey. "Lyric historiography in Canadian modernist poetry, 1962-1981." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121330.
Full textAbstract:
This dissertation focuses on five closely knit writers who, between 1962 and 1981, produced exemplary historiographic poetry that guided their contemporaries. Al Purdy, John Newlove, Barry McKinnon, Andrew Suknaski, and Margaret Atwood were the chief voices of a literary mode that I term "modernist lyric historiography": a meditative modernist lyric that is self-critical, self-consciously incapable of claiming and skeptical about any claim to authority over history, and fundamentally historiographic (in the sense that it synthesizes, discards, and/or critically evaluates fragments of history). Arguably, Purdy was the inaugurator of lyric historiography: in the early 1960s, he experimented with a modernist lyric attentive to a broad vision of Canadian history. Newlove was one of many poets who saw Purdy's lyric historiography as a mode that could be used to provide insight into neglected prairie histories. As part of their search for more intimate connections to history that could sustain longer, narrative poems, McKinnon and Suknaski adapted lyric historiography to explore the familial past. Atwood reimagined lyric historiography as the search for Canadian "foremothers," proto-feminists that could serve as models for the second-wave feminist movement.Addressing the archives, creative writing, and historical contexts of these five writers, this dissertation proposes two primary claims. First, modernism persisted well into the 1970s (and even beyond) and shared with Canadian postmodernism a sophisticated approach to the idea of "history." Second, modernist lyric historiography was a continued investigation into one's ability to claim authority over historical narratives. Many modernists found some measure of such authority by exploring the most intimate connections to the past, which tended to be literal and figurative familial ones.<br>Cette thèse traite de cinq écrivains, qui, entre 1962 et 1981, ont créé des modèles de poésie historiographique, qui ont guidé leurs contemporains modernistes. Al Purdy, John Newlove, Barry McKinnon, Andrew Suknaski et Margaret Atwood ont été les figures principales d'un mode littéraire que nous appelons «l'historiographie lyrique moderniste». Ce terme désigne une poésie lyrique moderniste et méditative, qui est autocritique, réticente à revendiquer une quelconque autorité sur l'histoire et méfiante de cette autorité lorsqu'elle est invoquée, ainsi que fondamentalement historiographique. Au début des années 1960, Purdy expérimente avec la poésie moderniste sur l'histoire du Canada. Newlove considérait l'historiographie lyrique de Purdy comme une manière d'écrire qui pourrait offrir une nouvelle façon de voir le passé négligé des prairies. McKinnon et Suknaski ont adapté l'historiographie lyrique en examinant le passé de leur famille. Atwood a réinventé l'historiographie lyrique en tant que recherche des «aïeules» canadiennes, des proto-féministes qui pourraient servir de modèle à la deuxième génération de féministes. En tenant compte des archives, de l'écriture et des contextes historiques de ces cinq écrivains, cette thèse propose deux idées principales. Premièrement, nous affirmons que le modernisme a persisté durant l'après-guerre et qu'il partageait avec le postmodernisme canadien une approche sophistiquée et critique de l'histoire. Deuxièmement, nous soutenons que l'historiographie lyrique moderniste consistait en un questionnement persistant sur la capacité de revendiquer une certaine autorité concernant un récit historique. Plusieurs modernistes ont trouvé une certaine autorité en explorant les liens les plus intimes avec le passé, qui avaient tendance à être des liens familiaux littéraux et métaphoriques.
29
Connolly, Roy. "Going professional : the evolution of the Lyric Players Theatre, Belfast." Thesis, University of Ulster, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390155.
Full text
30
Quipp, Edward. "W.H. Auden and the meaning of lyric poetry." Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/2119.
Full textAbstract:
My thesis proceeds from recent critical discussion about the status of the aesthetic object after the decline of high theory of the 1980s and 1990s. The term “singularity”, articulated by critics working with the ideas of Martin Heidegger, has been variously applied to the artwork in the attempt to describe the generative power of art as separable from any historical or political determinants that may shape it. What makes the experience of art “singular”, that is, an experience governed by the artwork itself, without the scaffolding of theory or context? Such a question, I argue, actually demands a return to the first principles of close textual criticism, along with a rigorous approach to genre. The lyric poetry of W. H. Auden provides the ideal material for “singular” criticism. Unpacking the term lyric and redefining it according to Auden’s particular poetics, I consider how Auden inaugurated a new manner of experiencing modern poetry based on the notion, implicit to the conventional understanding of lyric, of vocality. After an account of Heidegger’s influence on contemporary ideas on aesthetics, I consult the work of Theodor Adorno, and later Hannah Arendt, in order to situate Auden’s early work in a European context, opposing the Atlanticism which has governed the vast majority of Auden criticism. Working to restore the power of the first encounter with the poem to historically and philosophically nuanced textual analysis, I present the key works of Auden’s early corpus in a new light.
31
Skillman, Nikki Marie. "The Lyric in the Age of the Brain." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10543.
Full textAbstract:
This dissertation asks how the physiological conception of the mind promoted by scientific, philosophical and cultural forces since the mid-twentieth century has affected poetic accounts of mental experience. For the cohort of poets I identify here—James Merrill, Robert Creeley, A.R. Ammons, John Ashbery, and Jorie Graham—recognition that fallible, biological mechanisms determine the very structure of human subjectivity causes deep anxiety about how we perceive the world, exercise reason, and produce knowledge. These poets feel caught between the brain sciences’ empirical vision of the mind, which holds the appeal of a fresh and credible vocabulary but often appears reductive, and the literary tradition’s overwhelmingly transcendental vision of the mind, which bears intuitive resonance but also appears increasingly naïve. These poets find aesthetic opportunity in confronting the nature of mind: Merrill takes up forgetting as a central subject, making elegant, entropic monuments out of the distortions and perforations of embodied memory; Ammons and Creeley become captivated by the motion of thinking, and use innovative, dynamic forms to emphasize the temporal and spatial impositions of embodiment upon the motions of thought; Ashbery luxuriates in the representational possibilities of distraction as a structural and thematic principle; Graham identifies the anatomical limits of the visual system with our limits of empathetic perspective, conceiving of her poems as prostheses that can enhance our feeble power to imagine other minds. In a host of significatory practices that reimagine lyric subjectivity in physiological terms, these poets’ ambitious and influential oeuvres reveal the convergence of “raw” and “cooked” post-war poetries in a set of fundamental suppositions about our aptitudes as observers, knowers, and interpreters; this convergence exposes the vestiges of the Romantic mind in modernism’s empowered conception of the poetic imagination. Uniquely equipped to explore meaningful correspondences between physiological and literary form, the contemporary lyric defies the novel’s preeminent position in the study of literary consciousness by demonstrating an enterprising talent for philosophical investigation of the experience of mind.
32
Petrey, Derek A. "The trope of the stranger in Brazilian and Chilean lyric production, 1960-2000 /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488202678773026.
Full text
33
vom, Schemm A. (Axel). "Dichter am Ball:untersuchungen zur Poetik des Sports am Beispiel deutschsprachiger „Fußball-Literatur”." Doctoral thesis, University of Oulu, 2006. http://urn.fi/urn:isbn:9514283023.
Full textAbstract:
Abstract In view of numerous texts from completely different genres the study shows to what extent and degree of differentiation the topic soccer is covered in German-language literature and allows general conclusions on a poetics of sport. Here solely German-language literary sources are considered. The work is divided into a theoretical and a text-related part. In the former section the approaches to the topic – on one hand via German studies and on the other hand via interdisciplinary sport science – is made clear by means of basic considerations on the questions “what is literature?” and “what is sport”. In addition, a revisable basis for the subsequent studies is provided. The text-related part – in turn subdivided according to the three main genres lyric poetry, epic poetry and drama – shows how exactly soccer appears as literary subject. Formal differences induced by the form of presentation within a genre (sonnet vs. visual poetry) or across genres (detective story vs. modern drama) take effect as well as context-related variations of the subject (soccer as symbolic carrier of meaning vs. soccer as vehicle for transporting ethical values). A concluding chapter each on the realization of the sport models introduced in the theoretical part in literary practice follow the individual genre areas. The various aspects that can be attributed to a poetics of sport conclude the study in a summarizing part. Not least here the comprehensiveness of the findings can be seen<br>Abstract Die Untersuchung zeigt mit Blick auf zahlreiche Texte ganz unterschiedlicher Gattungen, in welchem Umfang und wie differenziert das Thema Fußball in der deutschen Literatur behandelt wird und lässt damit allgemeine Rückschlüsse auf eine Poetik des Sports zu. Betrachtet werden hier ausschließlich deutschsprachige, literarische Quellen. Die Arbeit gliedert sich in einen theoretischen und einen textbezogenen Teil. Im erstgenannten Abschnitt wird durch grundsätzliche Überlegungen zu den Fragen „Was ist Literatur? ” und „Was ist Sport? ” der einerseits germanistische, andererseits interdisziplinäre sportwissenschaftliche Zugang zum Thema verdeutlicht. Zudem ist hier eine überprüfbare Basis für die anschließenden Untersuchungen geschaffen. Der textbezogene Teil – wiederum untergliedert nach den drei Hauptgattungen Lyrik, Epik und Drama – zeigt, wie Fußball genau als literarisches Motiv erscheint. Formale Unterschiede bedingt durch die Darstellungsform innerhalb einer Gattung (Sonett vs. Visuelle Poesie) oder grenzüberschreitend (Kriminalroman vs. Modernes Drama) kommenden dabei ebenso zum Tragen wie inhaltliche Variationen des Motivs (Fußball als symbolischer Bedeutungsträger vs. Fußball als Vehikel zur Vermittlung ethischer Werte). Je ein resümierendes Kapitel über die Umsetzung der im theoretischen Teil eingeführten Sportmodelle in der literarischen Praxis schließt sich an die einzelnen Gattungsbereiche an. Die verschiedenen Aspekte, die sich einer Poetik des Sports zuschreiben lassen, schließen die Studie in einem zusammenfassenden Teil ab. Nicht zuletzt hier zeigt sich die Reichhaltigkeit der Untersuchungsergebnisse
34
Antunes, Carlos Leonardo Bonturim. "Ritmo e sonoridade na poesia grega antiga: uma tradução comentada de 23 poemas." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-24112009-134831/.
Full textAbstract:
Este trabalho consiste de uma tradução comentada de vinte e três poemas gregos dos períodos Clássico e Arcaico. Essa tradução foi realizada buscando recriar o ritmo e a sonoridade dos textos originais, mas sem se afastar demasiadamente do plano do sentido, de modo que não é uma recriação livre. O trabalho é introduzido por um breve estudo a respeito do ritmo e da sonoridade, tanto na literatura grega quanto em termos gerais.<br>This work is comprised of a translation, followed up by a commentary, of twenty-three greek poems from the Classical and Archaic periods. The translation was carried out with a view to recreate the rhythm and sound of the original texts, without, however, allowing it to stray too far from the meaning, lest it would become a free recreation. The main work is introduced by a brief study regarding rhythm and sound, both in greek literature and in general terms.
35
Bell, John Michael. "Compelling identities : nation and lyric form in Seamus Heaney." Thesis, University of Oxford, 1993. http://ora.ox.ac.uk/objects/uuid:9b2ce97c-48e1-4c76-9f2b-16851686e262.
Full textAbstract:
In Ireland's divided society in which everything is political except solutions, the evaluation and redefinition of the governing metaphors of political and cultural identity is a matter of public concern. For nationalist Ireland, the traditional centrality of the poetic imagination to the development of the legitimating tropes of national identity endows representative status upon all subsequent poetry which treats of these themes. The heated public and critical debate about the poetry of Seamus Heaney derives from the recognition that as nations are "imagined communities", so the form and content of the poet's imaginative process is heavy with political and social implications. Heaney's poetic negotiation between the given collective traditions of his community and the transfigurative appeal of the individual imagination engaged with modernity, produces a sustained reflection upon the nature and implications of cultural identity in modern Ireland. What is implict in the tenor of the debate surrounding Heaney is explicit in Heaney f s compelling poetic, namely, that in the modern age cultural identity remains central to social and political definition. But whereas the fact of cultural identity is central to social definition, the form (either hegemonic or inclusivist) of any such expression of identity is dependent upon the discursive practices which imagine and construct such definitions. In this context what begins for Heaney as a lyric flirtation with the possibilities of language, becomes a critical reappraisal of nationalist ideology's governing metaphors of place, history and belonging. In order to situate and define Heaney's contribution to the preoccupying question of identity it is necessary to evaluate the history and discursive evolution of nationalism as an ideology. Such an evaluation demonstrates that nationalism as a product of post-dynastic modern societies, is dependent upon a number of figurative habits and discursive practices for its universal and universalising appeal. By identifying these formations and by establishing the connection between these figures of thought and the expression of cultural identity as a hegemonic or inclusivist narrative, criteria may be determined against which the status of Heaney's own expressions of cultural identity may be assessed. Against the contemporary background in which nationalism appears to have acquired the status of a political metaphysics, Heaney's candid engagement with the cherished illusions informing this perception reveals him for what he is - a definitively modern poet announcing to those who will listen that there is and must be, poetry after Auschwitz.
36
Mack, Joseph Edward. "Teaching the Sermon: Lyric, Narrative, and T. S. Eliot." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/91374.
Full textAbstract:
This thesis is an examination of the subsection of T. S. Eliot's The Waste Land that is aptly named "The Fire Sermon." The hybrid nature of this famous poem makes it open to a variety of readings, and these readings are often conflicting. Thus, the work, in spite of being a seminal text in literature, can be difficult to teach due to the complexity of the piece itself. This fact makes choosing a pedagogical approach to teaching The Waste Land a challenge. With the goal of making Eliot's poem more explorable, this thesis will undertake the task of an examination of "The Fire Sermon" using two distinctive theories. The theories in question are the theory of the lyric, exemplified by Jonathan Culler's writing, and the theory of heteroglossia established by Mikhail Bakhtin. However, that analysis will be merely a stepping stone for a more strictly pedagogical question that this project seeks to answer. That question is, namely, the query of which branch of contemporary theory, narrative or lyric, is more apt to present the issues inherent in "The Fire Sermon" in an effective and teachable manner. Both positions have a number of positive attributes and elements that make them uniquely suited to the examination of Eliot's writing.<br>Master of Arts<br>Teaching poetry can be a difficult task. The basic question of “Why should I study poetry?” is one that many a professor has had to answer. While the scholarly community has done a decent job of articulating the value of the liberal arts, the specifics of how to teach difficult poetry is more of a gray area in scholarship. Certainly, a number of articles, opinions, and theories on how to best teach poetry exist, but creating a clear blueprint with examples of how to apply complex theories to a poem is essential to guiding new instructors into the field of teaching poetic works before an audience. This thesis is a work that shows several of the methods of studying poetry via an examination of several important poetic and narrative theories and the theorists that created said methods, and then the thesis undertakes a practical examination of a poem, a section of T. S. Eliot’s The Waste Land. The purpose of this thesis is to make critical theories and abstract ideas more applicable and valuable as usable tools in the classroom, rather than having them exist as ideas without a practical application. Knowledge is, after all, something made to be shared.
37
Conlon, Rose B. "Toward a New American Lyric: Form as Protest in Claudia Rankine." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1077.
Full textAbstract:
This thesis argues that Claudia Rankine's two American lyrics destabilize the subject-object dialectic underwriting American lyricism. First, I consider Don’t Let Me Be Lonely’s rejection of spectatorship, insofar as spectatorship objectifies the suffering of the Other. Second, I analyze Citizen’s subversion of the lyric “I”, particularly as it vocalizes the “you”-position traditionally relegated to poetic object. I suggest that both works, by returning power to the object, manifest an aesthetic disruption to the racially-based power dialectic underpinning American lyric tradition. Eventually, I propose that Rankine mobilizes the poem as a future-space for the realization of an ideal politics.
38
Simecek, Karen. "Experiencing lyric poetry : emotional responses, philosophical thinking and moral inquiry." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/57957/.
Full textAbstract:
To date, the most substantial accounts of our engagement with literature have focused on prose-fiction, in particular the novel, drawing on issues of plot, character and narrative in explaining our understanding of literary works. These accounts do not consider how the poetic features of a literary work may affect our reading experience and how this contributes to the meaning of the work. In this thesis I show the philosophical importance of the experience of reading poetry for the role it can play in inquiry, in particular, how such an experience can facilitate philosophical thinking and active inquiry. Adopting a reader-response view of our engagement with poetry, I argue that the experience of reading lyric poetry can make a valuable contribution to philosophical inquiry by enriching our conceptual understanding. The reading experience helps us to forge explicit awareness of our concepts and the networks of associations and beliefs that determine our use of them. Understanding poetry necessarily requires attending to the unity of form and content, and the particular perspectives on offer in the poem. This complex whole sustains perspectives and emotions where character and narrative are lacking. I argue that the perspectival nature of our reading experience is important for philosophical inquiry into aspects of human life. Encountering the perspectives of the poem helps to activate our own perspectives through our emotional and intellectual responses, bringing into focus what we value. I apply this argument to the moral domain, arguing that poetry can facilitate moral inquiry in particular by exposing moral significance in our concepts, helping us to feel what is at stake, and by testing our moral understanding. The way in which the poetic examples discussed engage us emotionally, imaginatively and cognitively (through the reading experience) help us address moral questions from distinctive and valuable perspectives, which provide us with moral insights of value in philosophical inquiry.
39
Zhao, Yingzhi. "Realm of Shadows and Dreams: Theatrical and Fictional Lyricism in Early Qing Literature." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11597.
Full textAbstract:
Early twentieth-century Chinese literary critics create a model of literary development that highlights leading genres for each dynasty. For the Ming and the Qing dynasties, these are drama and fiction. This model relegates other genres of the period, especially poetry and lyric, to a second-class status, and accounts for their less visibility in scholarly research until today. The aim of my dissertation is not to reverse the hierarchy of genres, but to break the boundaries of genres, examining the ways in which the aesthetic sensibility connected to drama and fiction is transposed to other genres and renews their conventions. The cross-genre approach used in my dissertation is supported by an overview of the literary scene of the period, when literati took up diverse roles from scholar-officials to professional dramatists, novelists, and painters, when the boundaries between "high" and "low" genres became more fluid and literati wrote across elite and popular genres, and when illustrations of printed plays and fiction, thanks to the rise of print culture, circulated widely and inspired the literati's cross-media imagination. Social practices of Ming and Qing literati, such as going to the theater, reading and writing commentary on drama and fiction, appreciating illustrations of printed plays and fiction, or listening to story-telling, translated into an awareness of the commensurability of life and theater (theatrum mundi), bringing role play, playfulness, staging, and fictional time and space to the reading and writing of other genres, creating textual and aesthetic hybridity in these latter genres. I use the term theatrical/fictional lyricism to refer to the ways in which drama and fiction, commentary on drama and fiction, and illustrations to drama and fiction change the conventions of reading and writing poetry and prose in terms of rhetoric and theme. The term also draws attention to the textual and aesthetic hybridity in these genres. Theatrical/fictional lyricism is a new form of lyricism, in which role play gives a twist to the genuine poetic voice, the records of real events gives way to self-conscious fictionality, and normal time and space merges with staged, illusory time and space.<br>East Asian Languages and Civilizations
40
Gobodwana, Anele. "An analysis of the lyrics of the top 10 African language pop songs on Umhlobo Wenene in 2016." Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30525.
Full textAbstract:
In this dissertation I critically analyse the lyrics of the top 10 songs (sung in an indigenous African language) aired on uMhlobo weNene (the national broadcast station for the Xhosa language) during 2016. Before the analysis of the songs I discuss various academic works on pop lyrics generally – ranging from a discussion of the production of aesthetic difference, lyrics in global and local settings, the changing lexicon of pop lyrics over the years, the purpose of lyrics to teenagers and the issue of translation and code switching in the lyrics of bilingual popular songs. In the main body of the thesis I apply a thematic and detailed linguistic analysis of the top 10 songs after which I provide an analysis of interviews conducted with Xhosa-speaking teenagers
with regard to their linguistic preferences as applicable to contemporary lyrics. The conclusion includes a summary of the dominant themes of the lyrics studied and a focus on what the grammar of the songs (e.g. the predominance of the first person pronoun in all of the lyrics) can tell us about the increasingly individualistic nature of contemporary lyrics sung in African languages.
41
Choi, Jung Ja. "Writing Herself: Resistance, Rebellion, and Revolution in Korean Women's Lyric Poetry, 1925--2012." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13070020.
Full textAbstract:
Despite a recent global surge in the reception and translation of Korean women poets, there has been surprisingly little scholarship on this topic. This dissertation aims to expand the focus of Western scholarship beyond the Korean male canon by providing the first in-depth analysis of the works of Korean women poets in the 20th and 21st centuries. The poets I chose to examine for this study played a critical role in revolutionizing traditional verse patterns and in integrating global socio-political commentary into modern Korean poetry. In particular, by experimenting widely with forms from epic narrative, memoir in verse, and shamanic narration to epistolary verse and avant-garde styles, they opened up new possibilities for Korean women's lyric poetry. In addition, they challenged the traditional notion of lyric poetry as simply confessional, emotional, passive, or feminine. Their poetry went beyond the commonplace themes of nature, love, and longing, engaging with socio-political concerns such as racial, class, and gender discrimination, human rights issues, and the ramifications of the greatest calamities of the 20th century, including the Holocaust, the Korean War, and the Kwangju Uprising. Unlike the dominant scholarship that tends to highlight the victimization of women and their role as passive observers, this project shows Korean women poets as active chroniclers of public memory and vital participants in global politics and literature. The multifaceted and detailed reading of their work in this dissertation facilitates a more nuanced understanding of the complexity of 20th-and 21st-century women's lives in Korea.<br>East Asian Languages and Civilizations
42
Armstrong, John Patrick. "Lyric realism to Epic consciousness : poetic subjectivity in the work of Edward Dorn." Thesis, University of Glasgow, 2008. http://theses.gla.ac.uk/502/.
Full textAbstract:
This thesis looks at Edward Dorn s work from his early poems in the late 1950 s to Gunslinger, his mock epic of the American West written between 1968 and 1974. The overall background premise to the present study is that, in this period, Dorn s work develops from a form of lyric, in his early work, to the construction of a multiple and epic consciousness within the four books of Gunslinger. Some critics of Dorn see quite radical shifts within this development, which often leads to a periodizing of Dorn s work. But this thesis argues for a strong continuity that runs alongside these shifts, driven by a consistent anti-capitalism that informs Dorn s writing. Chapter 1 assesses several of Dorn s early poems and finds within the construction of his poetic subject, a tendency to undo and undermine the traditional lyric voice of interiority. Comparisons are made with Frost and Thoreau, and Olson is introduced as Dorn s first and foremost major influence. The poet s dealing with otherness is considered, as are the influence of Whitman and Blake among others, with the aim of placing Dorn in a literary sense, and showing how his poetry continues and subverts various traditions and conventions of poetry, In Chapter 2, examples of Dorn s prose works - short stories, sketches and his autobiographical novel By the Sound (1971) - are explored both in their own terms and as experiential backdrop to the poetry. This section is particularly concerned with Dorn s configuration of poverty in his work and how it is consstructed as a form of American otherness. Chapter 3 s primary concern is with Dorn s treatment of the American West in his 1964 volume Hands Up! Particularly important here is Dorn s undemining of myth, its process of privileging certain stories to the detriment of history, and the West s reliance on capitalism. The second half of this chapter continues these ideas through an assessment of 'The Land Below'. Chapter 4 critiquse Geography (1965) through the influence of Charles Olson and the cultural geographer Carl Otwin Sauer. The first half is concerned with Dorn s push for expansiveness in his poetry and his attempts to achieve, what he calls, a 'condition of the simultaneous.' The second half of the chapter however, locates in this collection, a poetics of melancholy and isolation that is more in keeping with his early work and in tension with his development toward epic. Chapter 5 assesses The North Atlantic Turbine (1967), focusing primarily on the two long poems of the volume, 'The North Atlantic Turbine' and 'Oxford.' This section looks at the further expansion in Dorn s poetics with the collection s global reach, and also considers the introduction of the experimentation with made-up voices. The final chapter on Gunslinger looks first at Dorn s treatment of the first-person pronoun as a continuation of his consistent testing of poetic subjectivity. Also explored, are 'The Cycle' and Dorn s creation of Robart as a monstrous manifestation of capiralism and finally, how the poem utilises the genre of eopc. The goal of the thesis is to explore beneath the presumptions about Dorn s development as a poet and understand how the complexities of such a development are played out within the texts themselves. Also, the aim here is to show how the movement from lyric to epic takes place in Dorn s work by very gentle degrees and is inextricably connected to his anti-capitalist politics.
43
Buckley, Ann I. "A study of old French lyric lais and descorts and related latin song to c. 1300." Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316675.
Full text
44
McLaaughlin, Grainne Carmel. "A comparative analysis of the compositional technique of the Ancient Greek lyric and Gaelic poetic traditions." Thesis, University of Cambridge, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.278363.
Full text
45
Hofstetter, Angela Dawn. "Lyrical beasts equine metaphors of race, class, and gender in contemporary Hollywood cinema /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3357987.
Full textAbstract:
Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2009.<br>Title from PDF t.p. (viewed on Feb. 8, 2010). Source: Dissertation Abstracts International, Volume: 70-05, Section: A, page: 1649. Adviser: Barbara Klinger.
46
Mizrahi, M. X. "Lyrical space : the construction of space in contemporary architecture, art and literature in Argentina." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1425681/.
Full textAbstract:
This thesis proposes that since 1990 a significant part of contemporary Argentine literature, art and architecture has been characterized by an identifiable quality: spatial lyricism. This new quality manifests in the spatial the aesthetic values that identify the lyric principle, normally related to sound and the verbal. The aim is to define ‘lyrical space’, and to show that space-making processes that validate introspective approaches in literature and visual arts can lead to the emergence of new form and content in architectural space, giving relevance to subjective experience and to the affective response induced in the user. Framed in neo-baroque aesthetics, the evidence puts experience, emotion, memory and identity as the critical material for the construction of space, inducing an ‘exceptional’ state of mind in the user/reader/spectator that recaptures the subjective dimension of seventeenth-century Baroque. A selection of short stories by Jorge Luis Borges and Julio Cortázar, several novellas by César Aira, and a lyrical essay by Alejandra Pizarnik, are read in relation to the visual work of Guillermo Kuitca, Fabián Marcaccio, Lucio Fontana, Leandro Erlich, Dino Bruzzone, Tomás Saraceno and my own. The investigation explores the literary principles on lyricism, linking Hegel’s Aesthetics to post-structuralist thinking, and the category of the figural. To support the analysis further, interviews conducted by myself and by others are also used. Several aspects are unique about the project. The literary is located in the spatial, while the material is located between the spatial and the self. This collision of reading literary work centred on the construction of space, with the reading of spatial qualities in the visual and the verbal in terms of their aesthetic affective response—the emotional effect it arouses—has not been attempted before. The aesthetic affinities that emerge from the interdisciplinary analysis are also new.
47
Armstrong, John Patrick. "'Lyric realism' to 'Epic consciousness' poetic subjectivity in the work of Eward Dorn /." Connect to e-thesis, 2008. http://theses.gla.ac.uk/502/.
Full textAbstract:
Thesis (Ph.D.) - University of Glasgow, 2008.<br>Ph.D. thesis submitted to the Department of English Literature, Faculty of Arts, University of Glasgow, 2008. Includes bibliographical references. Print version also available.
48
Curtis, Sarah. "REVEALING INFLUENCE: EXPLORING BRITISH IDENTITY, SEXUAL POWER, AND LYRIC AMBIGUITY IN SPENSER, KEATS, AND TENNYSON." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1728.
Full textAbstract:
The poets of the Romantic period and before learned their craft by reading poetry. John Keats fell in love with poetry when he was about seventeen and became a powerhouse in the canon of poetic literature by reading and thinking about poetry—what it is, how it’s made, and its value. Although critics regularly consider multiple sources, and even trace influence from one poet to another, influence is rarely the focus of critical analysis, but is instead a method of that analysis. Influence is not merely a tool, but a lens through which to understand more fully how poetry’s form and themes evolve over time, and perhaps how they devolve as well. This thesis traces the influences of Spenser in Keats’s The Eve of St. Agnes, and draws connections beyond the Romantic period to demonstrate how Spenser’s world-making, Keats’s lush language, and a tradition of re-evaluating sexual power roles and definitions of chastity carries through to the future, specifically Tennyson’s The Idylls of the King. My argument focuses on three major aspects of these poets’ work: definitions of chastity; using legend and poetry to shape English identity; and the varied uses of poetic language in lyric poetry to create ambiguity which reinforces and forces interpretations of these themes beyond the poems they reside in.
49
Fleming, Morna Robertson. "The impact of the Union of the Crowns on Scottish lyric poetry, 1584-1619." Thesis, University of Glasgow, 1997. http://theses.gla.ac.uk/2553/.
Full textAbstract:
This thesis examines the impact on Scottish lyric poetry of the Union of the Crowns in 1603 by making a detailed analysis of the separate Scottish and English literary traditions before 1603, highlighting the peculiar features which identify national traits. In the course of this analysis it is seen that English influence on the themes and topoi of Scottish writing is not particularly marked, although a drive towards English orthography is seen in printed works of the 1580s and thereafter increasingly in original Scottish writing. Following the Union of the Crowns, the lyric products of the united kingdoms are analysed by 'school' in order to determine how much of the distinctively Scottish voice that had been previously identified is still detectable. The accepted view is that Scottish poetry simply disappeared by a process of attrition as Scottish poets found they could not compete with their English contemporaries, but it is my contention that even where Scottish poets deliberately adapted their writing to the styles of English groupings of poets, they maintained a strongly individual Scottish voice. The Scottish poetical traditions and themes continue well into the seventeenth century and beyond the scope of this thesis, maintained through the habitual practice of keeping manuscript collections and commonplace books.
50
Hanus, Ursula Maria. "Deutsch-tschechische Migrationsliteratur: Jiří Gruša und Libuše Moníková." München Iudicium, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=3074310&prov=M&dok_var=1&dok_ext=htm.
Full text