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Dissertations / Theses on the topic 'Metaphysical poetry'
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Williamson, Paul. "The metaphysical basis of mid eighteenth-century English poetry." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314489.
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Guy, Isabelle. ""This subtle knot". The Metaphysical Conseit in John Donne's Prose and Poetry." Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/25039/25039.pdf.
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Guy, Isabelle. ""This subtle knot" : the metaphysical conceit in John Donne's prose and poetry." Master's thesis, Université Laval, 2007. http://hdl.handle.net/20.500.11794/29502.
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Wheatley, Carmen. "Donne and Spanish literature." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.235777.
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Jones, W. Elliot. "Welcome Sweet and Sacred Feast: Choral Settings of Metaphysical Poetry by Gerald Finzi." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/193590.
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Gerald Finzi (1901-1956) amassed a library that numbered over three thousand volumes, mostly of poetry, by the time of his death and was extremely selective when choosing poems to set to music. Settings of Thomas Hardy form the bulk of his output for solo voice, but for his choral works he returned again and again to seventeenth -century metaphysical poets like George Herbert, Richard Crashaw, Henry Vaughan, Thomas Traherne and Edward Taylor. These poets relied more upon rational thought than on intuition or theology in their work, and even their religious passion was filtered through reason. The extent of their use of wit, paradox, puns and their unusual juxtaposition of images, such as Andrew Marvell's comparison of the soul to a drop of dew, had not been seen before in English sacred poetry. Finzi, an agnostic, was attracted to their questioning of traditional, accepted religious thinking, and he frequently quoted these poets in his letters. The loss of loved ones at an early age, his affinity for the pessimism of his poetic idol Thomas Hardy, his rejection of religious dogma, and his constant awareness of the frailty of human existence would all influence his choice of texts for vocal and choral works. When commissioned to write sacred choral works, Finzi turned to Richard Crashaw, Henry Vaughan and Edward Taylor for poetic, not dogmatic, religious poetry.Gerald Finzi's first five works for chorus were settings of the poetry of George Herbert, Henry Vaughan and Thomas Traherne, and he continued to set metaphysical poetry throughout his career. It would ultimately account for over twenty-five percent of his total output of music for chorus. Finzi consistently responded to the elaborate conceits and surprising juxtapositions that characterize metaphysical poetry with musical surprises using harmony, tonality, meter, rhythm, texture, voicing and melodic shape. Always allegiant to the principles and values of the pastoral composers who preceded him, Finzi created music that is characterized by an ever-present sense of elegiac melancholy often expressed in Romantic melodic gestures accompanied by consonant harmony. He earns this seeming indulgence, however, through frequent use of dissonance, usually placed in low sonorities, Bachian contrapuntal textures, and even modernist elements. In terms of scholarship and philosophy, Gerald Finzi and the metaphysical poets were kindred spirits. An exploration of this subject that details precisely how Finzi responded to these poems in his musical settings of them will lead conductors, musicians and listeners to a more thorough understanding of these pieces and the artist who created them.
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Olsen, Elena Brit. ""Alone I climb the craggy steep" : literary ambition and metaphysical identity in eighteenth-century women's poetry /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/9337.
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Cowell, Emma Mildred. "Dialogues with the Past: Musical Settings of John Donne's Poetry." Youngstown State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1339692006.
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Christensen, Ashley Mae. "First Psalm: Poems and Paintings." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3062.
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This collection of poems and paintings seeks to find the places where visual and written communication intersects, and the places where those two media diverge. The collection consists of poems and paintings juxtaposed, as if in conversation with one another throughout the pages. The collection treats each painting and poem as a separate attempt at prayer. As a reader turns the pages, similar questions are asked again and again, but in different settings and with different outcomes. This collection focuses on finding reconciliation between the oral culture of storytelling and the written culture of ideas, all within the context of prayer.
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Wooding, Jonathan. "Natural strange beatitudes : Geoffrey Hill's The Orchards of Syon, poetic oxymoron and post-secular poetics, and, An Atheist's Prayer-Book." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3223.
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Geoffrey Hill’s The Orchards of Syon (2002) occupies a contradictory position in twenty-first century poetry in being a major religious work in a post-religious age. Contemporary secular and atheistic insistence on the fundamentally crafted and flawed nature of religious faith has led Hill not to the abandoning of religious vision, but to a theologically disciplined approach to syntax, grammar and etymology. This dissertation examines Hill’s claim to a poetics of agnostic faith that mediate his alienation from a cynical and debased Anglophone contemporaneity. The oxymoronic nature of a faith co-existent with existential loss is the primary focus. The semantic distinction between paradox and poetic oxymoron is examined, and the agonistic and aporetic dimensions of the oxymoron are considered as affording theological significance. Poetic oxymoron as site of both foolish babbling and Pentecostal exuberance is made explicit, as is Hill’s relation to the oxymoronic nature of beatitudinous expression and the Kenotic Hymn. Hill’s reading of and relation to other theologically engaged poets is outlined. Thomas Hardy’s tragic-comic vision, Gerard Manley Hopkins’ restrained rapture in ‘The Windhover’, and T. S. Eliot’s expression of kenotic dissolution in ‘Marina’ are read as precursors to Hill’s revisionary God-language. William Empson’s significant difficulties with aspects of Hopkins’ and Eliot’s poetics is appraised as evidence of an oxymoronic and theological dimension within poetic ambiguity. Hill’s imperative to embody and enact theological vision and responsibility is tested in a reading of The Orchards of Syon. Paul Ricoeur’s perception of the religious significance of atheism is provocation for my own creative practice, as is the performative theology implicit in both Graham Shaw’s hermeneutic approach, and Hill’s visionary philology. Creative process draws on Simone Weil’s notion of decreation, the kenotic paradigm as exemplified in the life and writings of Dietrich Bonhoeffer, and the continuing secular vitality of the apostrophic lyric mode.
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Davis, Andrew Dean. "Protestants Reading Catholicism: Crashaw's Reformed Readership." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_theses/69.
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This thesis seeks to realign Richard Crashaw’s aesthetic orientation with a broadly conceptualized genre of seventeenth-century devotional, or meditative, poetry. This realignment clarifies Crashaw’s worth as a poet within the Renaissance canon and helps to dismantle historicist and New Historicist readings that characterize him as a literary anomaly. The methodology consists of an expanded definition of meditative poetry, based primarily on Louis Martz’s original interpretation, followed by a series of close readings executed to show continuity between Crashaw and his contemporaries, not discordance. The thesis concludes by expanding the genre of seventeenth-century devotional poetry to include Edward Taylor, who despite his Puritanism, also exemplifies many of the same generic attributes as Crashaw.
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Neveux, Julie. "L’expression linguistique du concret chez John Donne : le sentiment dans la langue." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040063.
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Cette thèse travaille sur l’élucidation du sens poétique à l’aide d’outils linguistiques ; elle propose une définition cognitive, phénoménologique et énonciative de la distinction abstrait/concret à partir de statistiques établies sur l’œuvre de John Donne (1572-1631), Meditations upon Emergent Occasions et The Complete English Poems. Le concret résulterait d’une forme de lyrisme indirect, c’est-à-dire non sémiotisé, implicite, auquel le poète aurait recours lorsqu’il serait impliqué affectivement dans une situation de discours. L’expressivité du sujet parlant repose sur une décatégorisation momentanée de catégories disponibles en langue, décatégorisation qui lui permet de dénoncer (implicitement) l’insuffisance des cadres abstraits prévus pour tous pour désigner la singularité de son expérience sentimentale. Les noms en –ness constituent une métaphore grammaticale car ils résultent d’une décatégorisation grammaticale, tandis que les métaphores traditionnelles mettent en jeu une décatégorisation lexicale. La métaphore porte l’empreinte affective du sujet parlant, qui se réapproprie ainsi le langage. La poésie métaphysique de John Donne, oscillant entre métaphores et comparaisons, entre le concret et l’abstrait, apparaît alors comme l’expression d’un travail du sentiment, sentiment d’autant plus travaillé qu’il est religieux, et se construit en l’absence de l’être aiméThis dissertation studies poetic meaning using linguistic tools. It offers a cognitive, phenomenological and enunciative definition of the distinction between the abstract and the concrete, based on statistics carried out on work of the metaphysical poet, John Donne (1572-1631): Meditations upon Emergent Occasions and The Complete English Poems. I argue that the “concrete” is the result of indirect – implied, unsemiotized – lyricism, a form of lyricism used by the poet when s/he is emotionally implicated in a speech situation. The speaker’s expressivity relies on a temporal decategorization enabling him to (implicitly) claim that generalized (abstract) terms are insufficient to articulate the specificity of his own sentimental experience. Words in –ness – grammatical metaphors – result from a grammatical decategorization, while traditional metaphors derive from a lexical decategorization. Metaphors reflect the affect of the incarnate speaker, who thus repossesses language. Lastly, I understand John Donne’s poetry – hinging on metaphors and comparisons, concrete and abstract elements – as expressing a working of feelings, which is the strongest when the feeling is religious and needs to make up for the absence of the beloved
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Chowdhury, Sajed Ali. "Dissident metaphysics in Renaissance women's poetry." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/45264/.
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This thesis considers the idea of the 'metaphysical' in sixteenth- and seventeenthcentury women's poetry, notably by exploring the female-voiced lyrics affiliated with Marie Maitland (d. 1596) in the Scottish manuscript verse miscellany, the Maitland Quarto (c. 1586). The study aims to reintegrate important strands of Renaissance culture which have been lost by too exclusive a focus on English, male writing and contexts. For many literary historians the 'metaphysical' refers overwhelmingly to Dryden's pejorative categorization of Donne and his followers. However, Sarah Hutton has recently shown how the 'metaphysical' can be traced to an Aristotelian Neoplatonism, whereby influential fifteenth-century thinkers such as Marsilio Ficino were conflating the spiritual and material for political purposes. For the queer Renaissance critic, Michael Morgan Holmes, the 'political' pertains to individual spiritual-material desires which can undermine hegemonic definitions of the natural and unnatural. Building on this, my thesis illuminates 'metaphysics' in the work of Maitland, Aemilia Lanyer (1569-1645), Constance Aston Fowler (1621?-1664) and Katherine Philips (1632- 1664). These poets use the physical and spiritual bonds between women to explore the nature of female space, time and identity. Hutton's and Holmes's definition of the 'metaphysical' has special applicability for these poets, as they tacitly deconstruct the patriarchal construction of the virgin/whore and offer their own configuration of the spiritual-sensual woman. While critics have foregrounded a male metaphysical tradition in the early modern period, this study proposes that there is a 'dissident' female metaphysical strand that challenges the 'dominant' male discourses of the time. Over the last few decades, feminist scholars, notably, Lorna Hutson, Barbara Lewalski, Kate Chedgzoy, Carol Barash and Valerie Traub have reinstated the work of Lanyer and Philips in the English canon of Renaissance writing. More recently Sarah Dunnigan has drawn attention to the importance of the Scots poet and compiler, Maitland. Moreover, Helen Hackett has indicated that the writings of Fowler force us to rethink the roles of women in early modern literary culture. I take this further in two ways. First, I examine these poets' relationship to the 'metaphysical', the importance of which has been underestimated by critics, despite Dryden's original gendered use of the term. Secondly, I propose that these writers are responding to a 'polyglottal' female metaphysical tradition that develops in Renaissance Europe through a female republic of letters. I also assess the difficulties in belonging to a 'female tradition' in an era where female authorship was necessarily affected by misogynistic attitudes to women as writers. The research re-contextualizes the work of these women by examining the philosophical ideologies of Aristotle, Ficino, Marguerite of Navarre, Donne, Sir Richard Maitland, Mary Stewart, Queen of Scots, Elizabeth Melville, Olympia Morata, Herbert Aston, Katherine Thimelby, St Teresa of Ávila and Andrew Marvell. By juxtaposing these four poets and reading them from within this philosophical-political context, the thesis sheds new light on the nature of early modern female intertextuality, whilst challenging male Anglocentric definitions of the 'Renaissance'.
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Fendik, Erik. "tapestry: towards a newer 'parchitecture, that which is 'pataphysical." Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/83521.
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How do we design for a local community while respecting heritage and touching their hearts? We know through our minds and we understand through our hearts. Consciousness touches minds and experience touches hearts. Since phenomenology is the study of both consciousness and experience, this phenomenological architectural thesis is designed to touch both minds and hearts. Instead of replacement, we need embracement in order to root one's social identity. Only then we will elevate cultural heritage in any context, for example African.
This thesis includes a case study of light followed by a 'pataphysical design proposal for Tapestry: a new library at Mzuzu University in Malawi. The library proposal is introduced through poems and visual information in the following sets: metaphysical, physical, 'pataphysical. Through the inquiry in haiku writing style, this poetry collection evaluates corners, windows, light, intensity, form. Not only we propose an exciting and unique library design, but we also discover that dignity is the key to unlocking the spirit of light in any project, regardless of its form.Master of Architecture
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Manganiello, Ilaria. "L'élaboration du concept de "poésie métaphysique" et d' "art métaphysique" chez T.S.Eliot, Eugenio Montale et Giorgio de Chirico." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL060.
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Cette thèse s'attache à reconstituer le mouvement ou l'avant-garde littéraire et artistique du début du XXe siècle appelée Métaphysique à travers deux poètes : T.S. Eliot et Eugenio Montale et un peintre : Giorgio de Chirico. L'analyse de la philosophie et de la poétique des auteurs en question nous a permis d'identifier certains éléments communs aux trois auteurs. Cela nous a autorisé à reconstruire, ou plutôt, à définir le mouvement d'avant-garde susmentionné, qui, en fait, sans le présent travail, n'aurait pas trouvé une telle définition. La métaphysique telle qu'elle est comprise par T.S. Eliot, Montale et de Chirico repose notamment sur l'idée de l'énigme qui sous-tend toute réalité, énigme qui est la métaphysique elle-même, et sur l'idée du temps comme éternel présent et éternel retour à travers la résurgence du mythe et de la littérature comme voix intemporelles. Ainsi, la Waste Land, par exemple, est le contenant dans lequel résonnent les voix littéraires, poétiques et mythiques d'autres textes ; et l'atemporalité des atmosphères métaphysiques chez Chirico, (on pense par exemple à la statue de l'Ariadne abandonnée), est également un retour : le retour du passé mythique de l'Occident dans le temps présentThis thesis is concerned with reconstructing the movement or literary and artistic avant-garde of the early 20th century called Metaphysical Art through the figures of two poets: T.S. Eliot and Eugenio Montale and a painter: Giorgio de Chirico. The analysis of the philosophy and poetics of the authors in question has allowed us to identify a certain number of elements common to the three authors. This has made possible the reconstruction, or rather, the definition of the aforementioned avant-garde movement, which, in fact, without the present work, would not have found such a definition. Metaphysics as understood by T.S. Eliot, Montale and de Chirico rests, in particular, on the idea of the enigma that underpins reality, an enigma that is metaphysics itself, and on the idea of time as eternal present and eternal recurrence through the resurfacing of myth and literature as timeless voices. Thus, the Waste Land, for example, is the container in which the literary, poetic, mythical voices of other texts resonate, and the timelessness of the metaphysical atmospheres painted by de Chirico, (e.g. the statue of the abandoned Ariadne), represents also a return: the return of the mythical past of the Western culture into the present time
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Betty, Michèle Anne. "Metaphysical balm and the poet as legislator." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/19969.
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This essay was born of a desire to understand the relationship between poetry and politics in a meaningful and current way. The twentieth century has seen atrocities that have taken place on an unprecedented scale: times of historical and social extremity, states of exile, censorship, military occupation, political persecution, torture, warfare, assassination, apartheid and, more recently, forms of violent terrorism. This essay will consider the function of poetry in a world overcome and consumed by violence. The essay will begin with a consideration of the political function of the ideas expressed in Percy Bysshe Shelley's A Defence of Poetry (hereinafter A Defence). Shelley's notion of the promise of art and what it de facto delivers, and his ideas on the significance of poems in the context of politics will be examined. The essay will then consider the views of the Russian Formalists on how to establish the "literariness" of a text and the ability of a text to "defamiliarise", as well as the devices that can be used by a poet to achieve literariness and defamiliarisation. It will touch on the work of Mikhail Bakhtin and his concepts of folk humour and grotesque realism in a text. Carolyn Forché's idea of poetry as a witness of a lived experience, as enunciated in her text Against Forgetting: Twentieth-Century Poetry of Witness, will be discussed. Thereafter, the essay will consider Viljoen and Van der Merwe's notions of liminality in literature, as expounded in their text Beyond the Threshold, and their explanation of how language can act as a transformative vehicle. In order to illustrate these concepts practically, the essay will analyse two South African poetry collections, namely: Nathan Trantraal's Chokers en Survivors and Oswald Mtshali's Sounds of a Cowhide Drum. The analyses will reveal what distinguishes mere resistance poetry and political diatribe from poetry that is lasting and effective.
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Di, Fuccia Michael Vincent. "Owen Barfield : theology as poetic metaphysics." Thesis, University of Nottingham, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664287.
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This thesis examines the theological import of Owen Barfield's poetic philosophy. Barfield's claim that subjects and objects exist in tension rescinds nominalism. In this scheme being resists closure, as instead the subject appears to inhabit a middle or medial realm. This presents a formidable challenge to philosophies of immanence and the sciences which presuppose them. For this reason the thesis draws upon relevant interlocutors to underscore the originality of Barfield's poetic philosophy, particularly as it relates to language, philosophy and the social and physical sciences. Overall, the thesis argues that the nominalist legacy results in a failure to ground the subject that emerges in the dialectic between modernity's active subject and postmodemity's passive subject. As such, nominalism represents merely a caesura to being's harmonious poetic kenosis. This dialectic not only reveals the inconsistencies of philosophy's immanent construal of being, but further exposes the very openness or mediation it denies. In the first two parts, Barfield's poetic philosophy is presented as an alternative to such feigned philosophies, in that it affirms the openness of being and concomitantly its theological trajectory. In this vein, the final part of the thesis builds upon Barfield's poetic philosophy to construct a theology as poetic metaphysics that baptizes philosophy's openness. Language and being are inconceivable outside of a theology of transcendence. For without transcendence, conceived of as in-and beyond immanence, being dissolves into either univocal repetition or equivocal non-identity. Thus, the only possibility of being is a non-identical repetition wherein the subject paradoxically grasps the truth that infinitely exceeds her. In this scheme, and not unlike Barfield's, the subject is not purely passive nor purely active, but middle. She is not an immanent ground in herself; her utterance is mediated, a participation in being's primordial.
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Paroli, Elena. "Le Je anti-lyrique dans la poésie italienne des années soixante : le sujet poétique en question dans la poésie d’Elio Pagliarani, Mario Luzi et Vittorio Sereni." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3075.
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Cette étude se consacre à l’avènement du Je anti-lyrique dans la poésie italienne des années soixante. C’est à ce moment que la pensée post-métaphysique peut se dire assimilée par la culture italienne, qui y trouve une nouvelle clef de lecture de l’expérience de la guerre et du miracle économique. C’est aussi la période où le réel, cru et changeant, fait irruption dans l’expérience artistique. Elio Pagliarani, Mario Luzi et Vittorio Sereni nous ont parus des représentants emblématiques de cette nouvelle posture du sujet poétique. Nous avons étudié leurs ouvrages des années soixante par le biais de trois catégories principales : la mise en question du Je, le rapport entre le Je et le monde, le rapport entre le Je et les autres. Cette articulation nous a permis d’une part de suivre les trois étapes principales de la reformulation anti-lyrique du Je (face à lui-même, face au monde et face aux autres), et d’autre part de reconnaître une progression dans la perte de l’identité lyrique traditionnelle. Le poète, ayant perdu la consolation métaphysique, commence à rechercher la vérité dans le monde physique ; il comprend ensuite que la vérité des choses est éphémère et que toute unité est brisée ; et il donne enfin la voix à d’autres personnages, dans l’effort de comprendre ce questionnement polyphonique qui est désormais la véritable voix du monde et du poète lui-mêmeThis research focuses on the rise of the anti-lyrical I in the Italian poetry of the Sixties. This was the time when the post-metaphysical philosophy had been fully assimilated by the Italian culture, which started using it as a new reading key to under- stand WW2 experience and the so-called economic miracle. This was also the time when the raw and ever-changing real broke into the artistic experience. Elio Paglia- rani, Mario Luzi and Vittorio Sereni seemed to us emblematic representatives of this new poetic subject's posture. We studied their poems from the Sixties under three main categories: the questioning of the I, the relationship between the I and the world, and the relationship between the I and the others. This structure allowed us firstly to follow the three main stages of the anti-lyrical reformulation of the I (confronted to himself, to the world and to the others) and secondly to recognize a progression in the loss of the traditional lyrical identity. Aware of the loss of any metaphysical consolation, the poet begins to seek the truth inside the physical world; he the realizes that even objects/things bear a fleeting truth and that any unity is broken; and he finally gives voice to other characters in the effort to understand the polyphonic questioning which has become by now the real voice of the world and of the poet himself
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Asquith, Mark Simeon. "The 'Sad Music of Humanity' : metaphysics and musical aesthetics in the novels of Thomas Hardy." Thesis, King's College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369131.
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Inge, Denise Louise Longenecker. "Re-examining the 'Poet of Felicity' : desire and redemption in the theology of Thomas Traherne." Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/reexamining-the-poet-of-felicity--desire-and-redemption-in-the-theology-of-thomas-traherne(a19f4363-46a1-46ca-89be-0254632f4e7e).html.
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Tompsett, Daniel Charles. "The reduction of metaphysics and the play of violence in the poetry of Wallace Stevens." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/388.
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The thesis demonstrates how Wallace Stevens' poetry utilises pre-Socratic philosophy in overcoming post-Kantian dislocation from the 'thing-in-itself'. I initially consider Stevens’ poetry in terms of Hans-Georg Gadamer's ontological conception of the 'play' of art, an interactive existence overlooked by Kant. Through the ‘play’ of Stevens’ poems the reading audience are implicated in their reduction to being. The origin of this conception leads Gadamer back to Parmenides who Stevens had read. I argue that Stevens’ poetry ‘plays’ its audience into an ontological ground in an effort to show that his ‘reduction of metaphysics’ is not dry philosophical imposition, but is enacted by our encounter with the poems themselves. Through an analysis of how the language and form of Stevens’ poems attempt to reduce mind and world to concepts that parallel Parmenides’ poetic sense of being, and Heraclitus’ notion of becoming, the thesis uncovers the ground in which Stevens attempts a reconnection with the ‘thing-in-itself’. It is through the experience of reconnecting to an ontological centre, which his poetry presents as the human project, that Stevens’ poetry also presents itself as a means of replacing religion.From here we turn to Emmanuel Levinas and Jacques Derrida for an exposition of how such a reduction reduces the ‘Other’ to ‘otherness’ and their worry that this reduction legitimates violence within the thought of Martin Heidegger and Parmenides. From this I make a case for how such reductions are connected to what I refer to as 'the play of violence' in Stevens' poetry, and to refer this violence back to the mythology Stevens' poetry shares with certain pre-Socratics and with Greek tragedy. This shows how such mythic rhythms are apparent within the work of Friedrich Nietzsche, Heidegger and Gadamer, and how these rhythms release a poetic understanding of the violence of a ‘reduction of metaphysics’.
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Martin, Richard. "Perspectives on interconnection : the new American writing reviewed." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311410.
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Dowling, Sarah. "“The imaging of the invisible”: Narrative, pilgrimage and “the metaphysics of the quotidian” in Charles Wright’s poetry." Thesis, Australian Catholic University, 2014. https://acuresearchbank.acu.edu.au/download/7b9c2696eff8b590a914dfe36d745f627725cca09ff0c407cc37eed82a51bd22/1636113/Dowling_2014_The_imaging_of_the_invisible.pdf.
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This dissertation presents an analysis of the whole body of poetry by contemporary American poet Charles Wright to date. Building on existing scholarship, I argue that his poetry can be read as having a single focus, which I label “the invisible” (a term from Wright’s poems) and which represents the object of Wright’s pilgrim’s metaphysical longings. The invisible names a multifaceted sense of something ultimate, ungraspable and often absent. It is commensurate with what Wright calls “the metaphysics of the quotidian”—the otherworldly quality of the mundane material world—and “the idea of God”, an agnostic sense of ultimate realities that remains half-begrudgingly reliant on religious terms. To reveal the centrality of the invisible to Wright’s poems I present an analysis of their recurrent symbols and metaphors, demonstrating that visions of the invisible are ubiquitous and consistent throughout his oeuvre. I also argue that an implicit, repeating narrative of “pilgrimage” persists all the way through Wright’s body of work. This pilgrimage is an ongoing quest of spiritual aspiration towards the invisible. It amounts to the kind of concealed storyline that Wright calls “undernarrative”. As I make clear, the pilgrimage constitutes the paradigmatic pattern of Wright’s poetry, a sequence of drawing near and falling back that recurs in an almost fractal manner in every part of his oeuvre. I trace this undernarrative within Wright’s whole body of poetry, not just his famous “trilogy of trilogies”, to reveal how his recurrent themes produce an implicit, repeated movement towards and then away from transcendence. From a perspective informed by Derrida’s deconstruction of Western logocentrism, I focus on Wright’s many meditations on the past, contemplations of the present and speculations on death. I consider the way that Wright entertains a particularly Southern, place-bound sense of origins, even while confounding that prioritisation of origins with a motif of rise-and-fall that destabilises “place”. The fluidity of memory reflected in tumultuous landscapes, as exemplified by the poem “The Southern Cross”, challenges the ideal of origins by revealing them to be elusive, uncovering a lack of consistency between the past and the present and rendering the past irretrievable. I explore Wright’s sense of being in time in relation to his poem The Journal of the Year of the Ox. This poem demonstrates two key patterns in Wright’s poetry: the perpetual renewal embodied in the cycle of seasons and the tragic fact of decay and rising entropy evinced by the poet-figure’s experience of ageing. Both concepts of time attest to the inapprehensible nature of the invisible, which is envisioned as an elusive eternal instant of time. Furthermore, the conflation of the idyllic origin with heaven in Wright’s poetry means that his pilgrim’s journey towards transcendence has a unique direction. Passing time both drags him away from paradise and conveys him back to his birthplace. Finally, I consider Wright’s multiple visions of death, which are variously, I suggest, redemptive, entropic, decompositional and cyclical. I consider the implications of these different “ends” for the preceding life narrative and for narrative closure in general. As obvious fictions, Wright’s endings draw attention to the fictiveness of all ideals of closure and completion. Ultimately, I argue that Wright’s modernist undernarrative of seeking wholeness demonstrates the appeal of dominant narrative paradigms even while subverting them and bringing the ideal of fundamental truth into question.
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Kaplan, Sara Esther. "Magazine." Miami University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=miami1086450926.
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Dittmer, Sienna Miquel Palmer. "Cross-Cultural Ecotheology in the Poetry of Li-Young Lee." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3027.
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This thesis explores the cross-cultural ecotheology of contemporary American poet Li-Young Lee by looking at the intersection of the human, the natural, and the sacred in his poetry. Close readings of Lee's poetic encounters with roses, persimmons, trees, wind, and light through the lens of Christianity and Daoism illustrate the way Lee is able to merge the Eastern concepts of interconnection and mutual harmony with Western ideas of sacredness and divinity. This discussion places Lee in direct conversation with modern and contemporary ecopoets who use the creative energy of language to express our moral and ethical responsibility to the world around us. Lee's poetry explores an innately sacred and transcendent relationship with the natural world that suggests that our understanding of our human identity is intricately tied to our respect and reverence for our natural environment.
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Barbour, Susan Jean. "Elegaic materialism : the poetry and art of Susan Howe." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4a0decd4-dec1-4f23-9457-d4d8b58c97c1.
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The American poet Susan Howe (1937-present) began her career as a visual artist, but owing to a dearth of information about her early collages it has been difficult to say anything substantive about how they might have shaped her poetic practice. In 2010, she placed her collages on archive. Along with a number of personal interviews with Howe, this heretofore unavailable material has enabled me to consider Howe's subsequent work in a new light and to establish significant links between her early visual aesthetics and the poetics of bibliography, historiography, and elegy for which she is now known. Howe's collages, like her poetry, focus on details that are at risk of vanishing from cultural memory and printed record. For this reason, I argue that her work evinces an 'elegaic materialism', or a way of reading, viewing, and thinking about texts that is attuned to loss. If “history is the record of the winners,” as Howe says, then one way of rescuing marginalized perspectives is by regarding manuscripts as drawings, thereby rescuing the concrete particulars deemed irrelevant by editors and historians. As Howe's late work turned increasingly toward elegy, her early aesthetic contributed to a nuanced poetics of personal loss and to a series of astonishing new formal tropes. The Introduction to this thesis discusses Howe's materialism in the context of current literary theory and textual scholarship. Chapter 1 concerns itself with Howe's art historical context. Chapter 2 analyses a selection of her word-drawings. Chapter 3 considers Howe's transition to poetry. Chapter 4 addresses her turn to archival documents in her middle period. Chapter 5 looks at the influence on Howe of documentary film, especially in connection with the task of representing a lost loved one, and Chapter 6 discusses her two most recent elegies, The Midnight and THAT THIS. A Coda completes the circle by once more considering Howe in the context of the visual arts at the moment she was selected to exhibit at the 2014 Whitney Biennial.
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Bandara, Dhanuka Mr. "T.S. Eliot and the Universality of Metaphysics; a Buddhist-Hegelian critique of post-structuralist and post-colonial theory through a reading of Eliot’s poetry and criticism." Miami University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=miami1533313801703122.
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Klasovsky, Stokely James. "The Sailor Did as the Devil Bade." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1269032153.
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Thompson, Alison. "The Higher Learning." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1452180306.
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Rumfelt, Janet L. "Idolatry, magic, and poetic subjectivity breaking the spell of metaphysics in Jewish and Christian postliberal thought /." Tallahassee, Florida : Florida State University, 2009. http://etd.lib.fsu.edu/theses/available/etd-07132009-195116.
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Thesis (Ph. D.)--Florida State University, 2009.Advisor: Martin Kavka, Florida State University, College of Arts and Sciences, Dept. of Religion. Title and description from dissertation home page (viewed on Nov. 17, 2009). Document formatted into pages; contains xi, 374 pages. Includes bibliographical references.
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Miller, Blaise Anne-Marie. "Le verbe fait image : iconoclasmes, écriture figurée et théologie de l'Incarnation chez les poètes métaphysiques : le cas de George Herbert." Paris 3, 2008. http://www.theses.fr/2008PA030131.
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La période située entre les deux grandes vagues de destructions iconoclastes dans l’Angleterre du XVIe et du XVIIe siècle est aussi celle où se développe une nouvelle poétique dite « métaphysique », caractérisée par un usage frappant du conceit. Ce travail, consacré à l’œuvre de George Herbert, se propose d’étudier le glissement de propriétés habituellement dévolues à l’image religieuse vers la poésie. On montrera comment la rhétorique et l’imaginaire iconomaques informent le projet littéraire et religieux d’un auteur qui cherche à convertir et purifier la poésie. Là où l’iconoclasme anglais passé et à venir extériorise une crise profonde de la notion même d’image, George Herbert cherche à la reconstruire intérieurement par une poétique efficace de la discordia concors dont le modèle est la théologie de l’Incarnation. Si Herbert rompt, comme tant d’autres poètes à la même époque, avec certaines pratiques de l’image poétique, c’est afin de mieux figurer le divin. Au-delà de sa reconquête de la ressemblance par le transport de la métaphore, c’est aussi grâce à une modalité visuelle de la lettre que Herbert parvient à suggérer l’ineffable et la transcendance divineThe period of time which stretches between the two phases of violent iconoclastic destruction in Early Modern England also corresponds to the development of a new « metaphysical » poetics characteristically known for its striking conceits. The purpose of this study, which is devoted to George Herbert, will be to show how his poetry can become endowed with some of the properties usually ascribed to the religious image. The rhetorics of iconoclasm shape Herbert’s attempt to convert and purify poetry. Whereas past and future iconoclastic destruction testifies to a deeper crisis of the notion of image, George Herbert seeks to recreate it internally through a poetics of discordia concors whose model is the Incarnation. By distancing himself, as many other contemporary poets, from certain long-standing approaches to figurative language, he reclaims for poetry the power to body forth the divine. Such a recovery of resemblance is not only made possible through the « figure of transport », the metaphor, but aslo through an iconic use of writing. Thus Herbert is able to suggest the unspeakable and the transcendance of God
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Araújo, Regina Lúcia de. "Raul Pompéia: jornalismo e prosa poética." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-24082007-143053/.
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O objetivo deste trabalho é comprovar a criação de um gênero híbrido e inovador - a prosa poética - , ligada ao jornalismo e à literatura do final do século XIX. Esta pesquisa analisa a prosa poética de Raul Pompéia, a partir de textos selecionados como corpus, publicados no periódico, A Gazeta da Tarde, de 21 a 29 jan. 1986. Paralelamente comparamos os textos equivalentes em sua versão de livro, publicados pela primeira vez em 1900, comentando também o conjunto das Canções sem metro.The main objective of this work is to compare the creation of a hybrid and new genre - the poetic prose -, by Raul Pompéia, related to journalism and literature at the end of the XIX century. This research analyses the poetic prose written by Raul Pompéia, by selecting texts as its corpus, published in the periodic \"A Gazeta da Tarde\", from January 21st to January 29th, 1986. At the same time we have compared the equivalent texts published on book for the first time in 1900, also discussing the other texts which form the whole group.
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Gardes, Yves. "Paradoxes de la poétique dans l'oeuvre de Ralph Waldo Emerson." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2105/document.
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« I think that philosophy is still rude and elementary. It will one day be taught by poets.The poet is in the natural attitude; he is believing; the philosopher, after some struggle, havingonly reasons for believing. » Le propos de cette thèse consistera à étudier dans quelle mesurele poète pourrait, un jour, enseigner la philosophie. Pour mener à bien ce travail de recherche,il conviendra d’étudier les paradoxes de la poétique révélés par une lecture génétique del’oeuvre d’Emerson.Alors que Platon chassait le poète en dehors de la cité, Emerson souhaite lui redonnerune place de choix dans la société. Par la lecture du projet poétique formulé par Emerson,l’étude de ses poèmes dans un cadre de « longue durée » et l’analyse d’une poétique quis’éprouve dans la prose pour progressivement perdre la subjectivité dans l’impersonnel, ils’agira de mettre en lumière dans quelle mesure l’expressivité poétique peut être productriced’un discours philosophique. Il conviendra alors de revenir sur l’idée de transcendance, et del’ouvrir au dialogue avec celle d’immanence pour mettre en lumière les liens entre poésie etphilosophie. Dès lors, il faudra s’interroger sur le discours produit par l’écriture d’Emerson etse demander s’il y a création de concepts, et donc philosophie, telle que Deleuze la définit. Lapoétique d’Emerson pourra apparaître comme la propulsion d’une pensée philosophique,suspendue dans l’indicible. Dans ce travail derecherche, il sera question de comprendre comment la poétique participe du projetmétaphysique de reformulation de l’âme pour suggérer un discours de portée philosophiqueencore inapprochable. Cette dernière idée ouvrira la perspective de la création, si elle existe, duconcept de « poète-penseur » dont Nietzsche prendra la pleine mesure à la suite d’EmersonDoes Ralph Waldo Emerson make a better essayist than a poet? For a majority of his readers, it seems to be so: Emerson’s poetic talents would be best expressed in prose. In any case, he would not personify the poet he describes in his famous essay “The Poet,” and we should turn to Whitman and Dickinson for avant-garde poetry. It is such an assertion that I wish to challenge in this study. To do so, I offer an architectonic exploration of Emerson’s poetics to surpass the simplistic oppositions between his poems and essays, and to show how the ones as well as the others come under poetics that outstrip their constructive paradoxes. This research is thus organized around three major paradoxes, whose solution depends on three offices Emerson all holds at once. The office of the archeologist allows to resolve the paradox of the tabula rasa: how are we to understand that Emerson repeatedly rejects the influence of the past while his work remains saturated with literary and philosophical references? The office of the architect allows to untangle the paradox of the poet: how are we to interpret the conflicting relationship between Emerson and the poetic persona, given that his poems do not seem to take account of the poetic principles that the great poet to come is obliged to respect? The office of the anarchist finally allows to shed light on the paradox of the subject: how are we to account for an absolutely free subject – the projected goal of Emerson’s poetic project – that would not be limited by the restring confines of textuality itself?
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Larios, Ruiz Darshan Shaday. "De la poesía pictórica a la poesía escénica: la metafísica del objeto cotidiano de Giorgio de Chirico en Tadeusz Kantor." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/377771.
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La presente investigación trabaja en la abstracción del concepto “metafísica del objeto cotidiano” procedente de la obra del pintor griego Giorgio de Chirico (Volos, 1888-1978), con el fin de probarlo como herramienta de análisis para el teatro de objetos. Al final se obtiene la definición de un concepto formado por tres principios y un proceso de dos pasos entendido como una dinámica de poetización del objeto cotidiano en la escena. Se pone de ejemplo el análisis de la metafísica escénica del “objeto-armario” en la obra En la pequeña casa del campo (1961), del director de teatro polaco Tadeusz Kantor (Wielopole,1915-1990). Esta definición se puede aplicar a cualquier proyecto escénico que trabaje con objetos cotidianos, como instrumento para la comprensión de procesos creativos.This research works in to get the concept "metaphysics of everyday objects" from the work of the greek painter Giorgio de Chirico (Volos, 1888-1978), in order to test as an analysis tool for object theater. At the end, the definition of a concept consists of three principles and two-step process understood as a dynamic of poetization from everyday objects in the scene. I put as example, the metaphysical analysis of one everyday object in the work of the polish theater director Tadeusz Kantor (Wielopole,1915-1990): “the wardrobe” inside In the little mannor house (1961). This definition can be applied as a tool for understanding creative processes at any stage project that works with everyday objects.
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De, Piano Piera. "Il nome, la poesia e la misura del divino : Proclo interprete della critica di Platone ad Omero." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3044.
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L'analyse de l'interprétation proclienne de la critique de Platon envers Homère, qui se situe à l'intérieur de la «récupération» de la tradition archaïque par le néoplatonisme, est conduite sur deux niveaux herméneutiques, l'un linguistique, l'autre esthétique. La lecture du texte proclien, notamment du Commentaire du Cratyle et des Dissertations Ve et VIe du Commentaire de la République, montre parallèlement comment l'activité assimilatrice, par laquelle un homme donne des noms aux choses et un poète construit des images des dieux, rend le langage et la poésie des activités entièrement intégrées dans le système des relations analogiques qui sont à la base de la structure hiérarchique de la métaphysique proclienne. Grâce à leur nature mimétique le nom et le symbole mythique sont des éléments d'union et d'appartenance de l'humain au divin et pourtant ils peuvent être nommés «mesure du divin». La distribution du réel dans les différents niveaux de l'être permet à l'exégète néo-platonicien de décrire la production poétique comme analogue à celle démiurgique et les voiles symboliques, visiblement obscènes, comme analogues à la procession des ordres divins du Premier Dieu. C'est à partir de cette perspective que, en parfaite harmonie avec la configuration triadique et sérielle du Tout, on peut lire le schéma tripartite défini par Proclus à la fin de la sixième Dissertation comme une distinction entre trois niveaux d'activité poétique et non, comme la plus récente littérature critique a interprété, en trois types de poésieThe study of Proclean interpretation of Plato's critique to Homer, which is set in the neo-Platonic revival of archaic tradition, is conducted according to two interpretation's levels defined very well, the first one linguistic and the second one other aesthetic. The reading of the Proclean text, in particular the Commentary on the Cratylus and the V and VI Dissertations of the Commentary on the Republic, shows side by side how the assimilative activity, by which a man names things and a poet constructs images of the gods, makes language and poetry activities fully incorporated with the system of analogic relations on which is based the hierarchical structure of Proclean metaphysics. Through their mimetic nature, the name and the mythical symbol are elements of union and tie of the men to the divine and so they can be said «proportion of the divine». The distribution of the real on different levels of the being allows the neo-Platonic exegete to describe the poetic production as an analogous to the demiurgical one and therefore the symbolic veils, visibly obscene, as an analogous to the procession of the divine orders from the First God. It is from this perspective that, in a perfect agreement with the triadic and serial configuration of the Whole, we can read the tripartite schema defined by Proclus at the end of the Sixth Dissertation as a distinction among three levels of poetic activity and not, such as required by the most recent critical literature, in three types of poetry
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Geronta, Constantia. "Le réel dans l'oeuvre poétique d'Yves Bonnefoy." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100006.
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Qu’ est-ce que signifie le réel pour un poète si reconnu, comme Yves Bonnefoy ? Quelle est la relation entre le réel et sa théorie poétique ? Constitue-il, le réel, une catégorie essentielle de sa théorie poétique ? Quelle est la place de la présence ? Comment elle se situe par rapport aux grands courants de la pensée du XXème siècle et aux Poèmes ? Quel est le rôle des essais critiques et des sciences comme la psychanalyse, la sémiotique et la philosophie quant à l’ étude du réel ? Finalement, quel rôle y jouent le langage et la poésie ? Le réel est une catégorie ontologique qu’ on distingue du terme de la réalité. En outre, le réel est un autre mot pour désigner le défaut et l’ excès de chaque étant en comparaison de tout ce qui le forme. Avec son premier recueil, Anti-Platon, Bonnefoy pose les fondements de sa propre ontologie qui attaque l’ idéalisme à la fois antique ( la philosophie platonicienne ) et moderne ( Hegel ) et qui reconnaît le rôle du sensible. Après Pierre Écrite, la présence remplace la notion de sensible et elle devient la notion-clé de son œuvre. La présence est l’ émergence soudaine de la chose dans son évidence. Aussi, est-elle ‘’une intuition de l’ universel dans le particulier’’ et l’ expérience de l’ unité, de l’ altérité et de l’ échange. En outre, les essais critiques et les études sur le langage, la poésie, la sémiotique, la psychanalyse et la philosophie, mettent en scène le projet poétique de Bonnefoy comme totalitéWhat does real mean for a poet as recognized an Yves Bonnefoy? What is the relationship between the real and his poetic theory? What is the role of presence? How it is placed compared to the main currents of twentieth century’s thought and Poems? What is the role of critical essays and sciences like psychoanalysis, semiotics and philosophy regarding the study of real? Last but not least, what role does language and poetry play? The real is an ontological category that is distinguished by the term reality. In addition, the real is another word for default and excess of each being compared to all that form it. With his first book, Anti-Plato, Bonnefoy lays the foundation of his own ontology that attacks idealism both ancient ( Plato’s philosophy ) and modern ( Hegel ) and recognizes the role of the sensible. After Written Stone ( Pierre Écrite ), the presence replaces the term of sensible and becomes the key-concept of Bonnefoy’s work. Presence is the sudden emergence of the thing in it’s obviousness. Also, it is ‘’an intuition of the universal in the particular’’ and the experience of unity, of otherness and exchange. Thus, it offers a vision of renewing the poetic act. In addition, critical essays and studies on language, poetry, semiotics, psychoanalysis and philosophy, set the poetic project of Bonnefoy as a totality
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Draper, Michèle. "Restitution de la poésie ˸ la portée des écrits théoriques dans l'œuvre de Gerard Manley Hopkins." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA137.
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L’introduction rappelle l’importance et l’intérêt des proses des Journals, des Oxford Essays and Notes, et des écrits dévotionnels, qui doivent être lus en continuité avec la poésie. Le chapitre I se consacre à la restitution des phénomènes naturels et perceptifs chez Hopkins, à la description et à l’analyse des termes d’inscape et d’instress dans les Journals, à la pratique de la prose descriptive chez Hopkins. Le chapitre II examine l’héraclitéisme de Hopkins dans le poème That Nature is a Heraclitean Fire and of the Comfort of the Resurrection. La résurrection est l’autre nom de la restitution (ou apocatastasis) qui donne la première explication de notre titre. Nous y observons le traitement de la description dynamique de la nature, en liaison avec les Journals, et l’ensemble des essais théoriques des années 1863-68, puis leur résonance sur la vingtaine d’années d’activité du poète. Le chapitre III se consacre à l’examen de l’essai « Parmenides » de 1868 qui permet de comprendre l’origine des termes essentiels d’instress et d’inscape dans la traduction commentée du Poème de Parménide, et l’emploi ultérieur de ces termes dans les définitions de la poésie. Le chapitre IV examine la définition de la poésie selon Hopkins, la constitution dialectique de la poésie, en fonction d’un triple trajet, confrontant les Essais d’Oxford, les poèmes et la tradition philosophique. On y relie de manière croisée l’interprétation de la dialectique de Platon, le réalisme d’Aristote à la question de l’imagination, de la fantaisie et de la voix. Ces éléments permettent l'analyse des liens entre langage poétique, vérité et réalité. Le chapitre V se consacre à l’analyse de la place de l’homme singulier dans cette pensée, aux définitions de la poésie, en confrontant les premiers essais d’esthétique aux usages plus tardifs des théologies hypostatiques et eucharistiques ainsi qu’à l’écriture des poèmes. La lecture de Duns Scot conduit à examiner les notions de pitch et de sake, considérées comme autant d’étapes pour parvenir à une définition poétique de l’homme. Le chapitre VI se consacre au développement de la notion d’imagination rythmique et à l’analyse du rythme bondissant, la clef de voûte de la pensée et de la pratique de Hopkins, par un examen des poèmes, des liens avec les poétiques de Wordsworth et de Coleridge, la métaphysique, la pensée du théâtre, la tradition pindarique. La conclusion tente de montrer qu’avec Hölderlin, et Coleridge, Hopkins est une des figures majeures de la pensée de la poésie, ce qui explique l’influence de ses écrits sur la poésie et la poétique du XXe siècleHopkins’ Oxford Essays and Notes as well as his prose writings are of particular relevance for the understanding of his work at large. Chapter I analyzes Hopkins’ Journals and the restitution of natural phenomena and sensations, as well as the use of inscape and instress in descriptive contexts. Chapter II analyzes Hopkins’ Heracliteanism in the poem That Nature is a Heraclitean Fire and of the Comfort of the Resurrection. Resurrection is a synonym for restitution (or apocatastasis in Greek, explaining our choice of the title). We concentrate on the dynamic description of nature in the Journals and the resonance of the Oxford Essays over the twenty years of Hopkins’ activity as a writer and poet. The third chapter is devoted to the 1868 essay « Parmenides », in which we trace the origins of the key-terms of inscape and instress as translations from the Greek of Parmenides’ Poem. Chaper IV examines the import of these notions in Hopkins’ definitions of poetry, the constitutive dialectics of poetry by analyzing the following topics in the Oxford Essays : poetry, its relation to philosophy, to Plato’s dialectics, to Aristotle’s realism and ethics, the definition of voice, imagination and fancy, as well as the analysis of the links between poetical language, truth and reality. Chapter V concentrates on the analysis of man’s singularity by confronting Hopkins’ early aesthetical theories and his more mature uses of hypostatical and eucharistic theologies, in the light of Duns Scotus’s influence. The relation of poetry, theology and anthropology leads us to examine the key notions of pitch and sake in Hopkins’ poetic definition of man. Chapter VI is devoted to the analysis of Hopkins’ rhythmical imagination and sprung rhythm, the keystone of his thought and practice, in relation to his interpretation of Wordsworthian and Coleridgean aesthetics, metaphysics, dramatic theory, poetics and the Pindaric tradition. To conclude, we focus on the importance of Hopkins, as one of the greatest representatives of poetic thought in the XIXth Century along with Coleridge and Hölderlin, hence his influence in XXth century poetry and poetics
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RAMO', MONICA. "L'universo poetico di Giuseppe Conte." Doctoral thesis, Università degli studi di Genova, 2022. http://hdl.handle.net/11567/1083499.
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Thesis title
The poetic universe of Giuseppe Conte
Abstract
The main object of our research is the poetic work of Giuseppe Conte. His entire poetic production, although differentiated, reveals a continuity in stylistic research and philosophy of existence. Conte's poetry collections are an attempt to express in artistic form his personal vision of literature, the world, society, man and different cultures. Our study explores a poetics that expresses Conte's relationship with poets and writers of the past and present. For Conte, poetry is necessary and fundamental to contemporary civilisation, it is an essential nourishment of the human imagination and soul, it must be understood as fundamental to the aesthetic, moral and economic rebirth of the world. In our study, we first analyse Conte's distance from the neo-avant-garde: he has always considered himself an «outsider» in relation to the artistic and literary movements of the 20th and 21st centuries. His conception of myth and nature as an antidote to the materialism of Western society led him to be one of the founders of «Mythomodernism». We ask why the poet was interested in lost non-European civilizations and examine his reinterpretation of classical myths. We study the role that Conte attributes to poetry in bringing together Western and Eastern cultures; we also analyse the influence of Ligurian «culture» and landscape on Conte. Finally, we focus on the values of language, in particular the expressive value of metaphor (on which Conte wrote fundamental essays), on poetic form and the analysis of language. The techniques used by Conte allow poetry to become the bearer of a new energy and a renewed work of civilisation.Titre L'univers poétique de Giuseppe Conte Résumé L'objet principal de notre recherche est l'œuvre poétique de Giuseppe Conte. Toute sa production poétique, bien que différenciée, révèle une continuité dans la recherche stylistique et la philosophie de l'existence. Les recueils de poésie de Conte sont une tentative d'exprimer sous forme artistique sa vision personnelle de la littérature, du monde, de la société, de l'homme et des différentes cultures. Notre étude explore une poétique qui exprime la relation de Conte avec les poètes et les écrivains du passé et du présent. Pour Conte, la poésie est nécessaire et fondamentale pour la civilisation contemporaine, elle est un aliment essentiel de l'imagination et de l'âme humaine, elle doit être comprise comme fondamentale pour la renaissance esthétique, morale et économique du monde. Dans notre étude, nous analysons d'abord l'éloignement de Conte de la néo-avant-garde: il s'est toujours considéré comme un «étranger» par rapport aux mouvements artistiques et littéraires des XXe et XXIe siècles. Sa conception du mythe et de la nature comme antidote au matérialisme de la société occidentale l'a conduit à être l'un des fondateurs du «Mythomodernisme». Nous nous interrogeons sur les raisons qui ont poussé le poète à s'intéresser aux civilisations non-européennes disparues et examinons sa réinterprétation des mythes classiques. Nous étudions le rôle que Conte attribue à la poésie dans le rapprochement entre les cultures occidentale et orientale; nous analysons également l'influence de la «culture» et du paysage ligurien sur Conte. Enfin, nous nous concentrons sur les valeurs du langage, en particulier la valeur expressive de la métaphore (sur laquelle Conte a écrit des essais fondamentaux), sur la forme poétique et l'analyse du langage. Les techniques utilisées par Conte permettent à la poésie de devenir le porteur d'une nouvelle énergie et d'une œuvre de civilisation renouvelée.
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Austin, Travis R. "Laminated PAINT." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.
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Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.
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""This subtle knot". The Metaphysical Conseit in John Donne's Prose and Poetry." Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/25039/25039.pdf.
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"The mind of John Donne: a cognitive approach to the metaphysical conceit." 2011. http://library.cuhk.edu.hk/record=b5894598.
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Law, Lok Man.Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves i-vi).
Abstracts in English and Chinese.
INTRODUCTION --- p.2
Chapter Section One: --- The Discussion on Donne's Conceits and Donne's Passion in His Poetry --- p.3
Chapter Section Two: --- Development of Cognitive Poetics --- p.6
Chapter Section Three: --- Significance of Cognitive Poetics --- p.10
Chapter Section Four: --- Significance of this Research Project --- p.13
Chapter CHAPTER ONE: --- CONCEPTUAL METAPHOR THEORY AND BLENDING THEORY --- p.15
Chapter Section One: --- Theoretical Background of Metaphor --- p.15
Chapter Part One: --- Metaphor as Deviation --- p.16
Chapter Part Two: --- Metaphor as Ornament --- p.17
Chapter Part Three: --- Metaphor as a Way of Understanding --- p.19
Chapter Part Four: --- Metaphor and Conceit --- p.21
Chapter Section Two: --- Conceptual Metaphor Theory --- p.21
Chapter Part One: --- Conceptual Metaphor Theory --- p.21
Chapter Part Two: --- Conceptual Metaphor Theory and Emotions --- p.25
Chapter Section Three: --- Blending Theory --- p.26
Chapter Part One: --- From Conceptual Metaphor Theory to Blending Theory --- p.26
Chapter Part Two: --- Gregor as a Twitter User --- p.28
Chapter Part Three: --- Blending and Conceit --- p.33
Conclusion --- p.34
Chapter CHAPTER TWO: --- FUNCTIONS OF DONNE'S CONCEITS --- p.35
Chapter Section One: --- Conceit in Perspectives --- p.36
Chapter Part One: --- Definition and Classification of a Conceit --- p.36
Chapter Part Two: --- The Mechanism of Combining Two Heterogeneous Images --- p.38
Chapter Part Three: --- Functions of a Conceit in the Argumentation of a Poem --- p.41
Chapter Part Four: --- Comparison Between the Rhetorical Approach and the Cognitive Approach --- p.43
Chapter Section Two: --- Functions of Donne's Conceits --- p.47
Chapter Part One: --- Analysis of 'Lovers' Infiniteness' --- p.47
Chapter Part Two: --- Condensed Conceits --- p.57
Chapter Part Three: --- Expanded Conceits --- p.64
Conclusion --- p.67
Chapter CHAPTER THREE: --- THE PASSION IN DONNE'S CONCEITS --- p.68
Chapter Section One: --- The Emotional Aspect of Donne's Poems and the Cognitive Perspective --- p.69
Chapter Section Two: --- Conceptual Theory of Emotion in Detail --- p.75
Chapter Part One: --- Kovecses's Emotion Concepts and Cognitive Model of Emotions --- p.75
Chapter Part Two: --- "Intensity, Passivity and Force in Romantic Love" --- p.77
Chapter Part Three: --- Application of Kovecses's theory to Donne's poems --- p.79
Chapter Section Three: --- Donne's Expressions of Emotions --- p.81
Chapter Part One: --- Passion and Intensity of Love when Love is Fierce --- p.81
Chapter Part Two: --- Frustration and Attempts to Control One's Emotions --- p.85
Chapter Part Three: --- Secured and Satisfied Love --- p.89
Chapter Part Four: --- Conceits that Fall Outside the Stages of Emotions --- p.94
Conclusion --- p.97
CONCLUSION --- p.99
Other Issues in Donne's Poetry Concerning Emotions --- p.100
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Prozesky, Stellamarie Bartlette. "A small adjective attending light, the archangelic noun : Jessica Powers: a modern metaphysical poet." Thesis, 2013. http://hdl.handle.net/10500/11868.
Full textAbstract:
This thesis aims to establish Jessica Powers (1905 – 1988) as a metaphysical poet, to augment the composite definition of metaphysical poetry, and to add two emphases to Christian literary theory. A comprehensive library search on Powers reveals that no scholarly work has been written on her poetry since 2005. A meta-analysis of existing work on Powers demonstrates that the metaphysical aspect of her poetry has not yet been comprehensively examined. Though Powers wrote in a time commonly called ‘post-modern’, my contention is that it would be more accurate to describe her as a metaphysical poet in the traditional sense of that term, as used, for example, of George Herbert (1593 – 1633). I endorse the view that the central theme of all metaphysical poetry is the relation between body and soul (Tanenbaum 2002: 211). It will be seen that this relation is the central concern of Powers’ metaphysical poetry.
My close reading of Powers’ work as metaphysical is according to a Christian literary theory which agrees with Hass ‘that the study of the text and textual hermeneutics in the twenty-first century will continue because of a particular resurgence of religion’ (2007: 856). It is augmented by two emphases, a scientific (based on Gallagher’s 2009 study of the neurophysiology of attention), and a philosophical (based on Fromm’s 1976 analysis of the ‘being mode’, and on Buber’s 1947 analysis of attentiveness to the present moment). My study thereby contributes to Christian literary theory. There are one hundred and eighty two poems in The Selected Poetry of Jessica Powers. This thesis refers, to greater or lesser extents, to one hundred and seventy six of the poems, and comprehensive examination of their metaphysical aspect is the primary focus of the thesis.
My examination of the poems demonstrates that Powers’ poetry can justly be described as metaphysical, which definition of her work serves to highlight an important and hitherto neglected aspect of her work, that she is a metaphysical poet of the finest calibre, and that renewed attention to her work is timely.English Studies
D. Litt. et Phil. (English studies)
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Šťastná, Zuzana. "České překlady Johna Donna v kontextech širší překladatelské poetiky svých autorů." Doctoral thesis, 2016. http://www.nusl.cz/ntk/nusl-349669.
Full textAbstract:
The PhD thesis studies the translations and the overall reception of John Donneʼs poetry in the Czech literary culture. Its introduction explains the choice of the topic, outlines the structure of the text and the main question to be answered: to what extent Donne has become a significant presence in the Czech cultural context and how his work has been transplanted through translations. The first chapter gives a brief overview of the historical changes in the appreciation of Donneʼs poetry and, drawing on a range of Donnean literature, attempts to define the main features of his poetics. The second chapter traces the gradual building of an awareness of Donneʼs poetry among Czech readers through translations, translation paratexts and references in the works of Czech literary scholars. It introduces the Czech translators of Donne and discusses their motives for translating his work where these could be ascertained. The first part of Chapter 3 describes the method used in analyzing the Czech translations. It introduces the model of translation criticism presented by Antoine Berman in his analysis of French Donnean translations (Pour une critique des traductions: John Donne, 1995) and comments on its application in the study of the Czech translations. The second part sums up the findings of two...
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Balvín, Tomáš. "Shelleyho vyjednávání metafyziky." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-436349.
Full textAbstract:
This thesis aims to understand Percy Bysshe Shelley's attitude towards the role of the poet in society as an usher of progressive change. To do this, it examines his metaphysics, chiefly his contact with the doctrines of idealism, which crystallised at the dawn of his life through his intimate relationship with the works of Plato, the early engagement with French materialists, English philosophers like Priestley and Hume & a later one with Lucretian materialism, and his deep entanglement with the first modern proponent of anarchism, William Godwin - who could be described as a perfectionist by some or as utilitarianist by others. By doing that the thesis seeks to shed light on how these doctrines influenced Shelley and how he conversed with and critiqued them, revealing the intricacies of his work because, in Shelley's philosophy, the nature of differentiation between the two, that is between materialism and idealism, is notoriously problematic. The beginning of the thesis serves to engage with Shelley's early contact with materialist doctrines, their fast repudiation in their pure form and his later critique in "Cloud" and response to them. The materialist influences of Shelley are pondered, as well as some of the possibilities of interpreting Shelley in a materialist way. Next, Shelley's...
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Rogers, Brian. "Interpreting the Sacred: Investigations of Heidegger's Phenomenology of Religion." Thesis, 2013. http://hdl.handle.net/10214/7731.
Full textAbstract:
This thesis is an investigation of Heidegger’s phenomenological analysis of religion. The author argues that Heidegger’s thought opens the way for descriptive conceptual analysis of religious experience and its object without undue theoretical distortion or reduction. Heidegger dismantles uncritical distortions of religious life under “scientific” rationality and objectivity. While the self-understanding implicit in religious practice is certainly transformed through Heidegger’s own philosophical analysis, philosophy undergoes its own transformation through thinking encounter with religious life. Philosophy cannot produce an objectively neutral, universal analysis of religion, but must in its own way participate in the object of religious life. The wonder and awe at the manifestation of being which gives rise to philosophical questioning finds orientation in poetic and revelatory sources of inspiration whose content exceeds conceptual grasp. Philosophical questioning brings thought to the paradoxes at the limits of our understanding of language and human experience. Philosophy cannot conceive of the origin systematically. But religious attunement to the origin, aided by the prophetic utterances of the poet, then enables philosophical speculation as to the highest form of human flourishing. The author concludes by calling into question interpretations of Heidegger’s phenomenology of religion in the work of Jean-Luc Marion and John D. Caputo. These remains bound up in part with the philosophical project for transcendental analysis of universal religion. Drawing on the hermeneutic phenomenology of Hans-Georg Gadamer and the philosophical theology of John Milbank and William Desmond, the author sketches an alternative reading of Heidegger’s critique of the Western metaphysical tradition and philosophical retrieval of religion in light of the notion of incarnation, arguing that this alternative offers a better phenomenological account of religion as such.
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"東晉玄言詩及其傳承關係研究." 2003. http://library.cuhk.edu.hk/record=b5891416.
Full textAbstract:
沈婷."2003年8月".
論文(哲學碩士)--香港中文大學, 2003.
參考文獻(leaves 165-172).
附中英文摘要.
"2003 nian 8 yue".
Shen Ting.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003.
Can kao wen xian (leaves 165-172).
Fu Zhong Ying wen zhai yao.
目錄 --- p.i
Chapter 第一章 --- 前言 --- p.1
Chapter 第二章 --- 東晉玄言詩槪述 --- p.3
Chapter 第一節 --- 玄言詩的定義 --- p.3
Chapter 第二節 --- 東晉玄言詩的分類 --- p.6
Chapter 第三節 --- 東晉玄言詩的分期 --- p.6
Chapter 第三章 --- 玄言詩的思想背景 --- p.9
Chapter 第一節 --- 玄言詩的玄學背景 --- p.9
Chapter (一) --- 玄學的槪念 --- p.9
Chapter (二) --- 玄學的發展與玄言詩的盛行 --- p.11
Chapter (三) --- 玄學的重要命題與玄言詩 --- p.13
Chapter 1. --- 以無爲本 --- p.13
Chapter 2. --- 言意之辨 --- p.15
Chapter 3. --- 名教與自然 --- p.16
Chapter 第二節 --- 玄言詩與佛學的關係 --- p.17
Chapter (一) --- 玄佛合 流 --- p.19
Chapter (二) --- 佛理對玄言詩的影 響 --- p.20
Chapter 第三節 --- 玄言詩的清談背景 --- p.22
Chapter (一) --- 清談的性質與內容 --- p.22
Chapter (二) --- 清談對玄言詩的影響 --- p.23
Chapter 1. --- 審美性質的清談一一玄言詩創作動力之一 --- p.23
Chapter 2. --- 清談對玄言詩語言形式的影響 --- p.25
Chapter 3. --- 清談對玄言詩聲律節奏的影響 --- p.27
Chapter 第四章 --- 東晉玄言詩的藝術特色 --- p.29
Chapter 第一節 --- 引言 --- p.29
Chapter 第二節 --- 東晉玄言詩的篇章結構 --- p.30
Chapter (一) --- 玄言詩的類別與篇章結構分析 --- p.31
Chapter 1. --- 純粹說理的玄言詩 --- p.31
Chapter 2. --- 理景交融的玄言詩 --- p.33
Chapter 3. --- 情、景、理三者融合的玄言詩 --- p.35
Chapter (二) --- 篇章結構與詩歌的形式美 --- p.36
Chapter (三) --- 篇章結構與詩歌的情感表達方式 --- p.39
Chapter 第三節 --- 東晉玄言詩的藝術手法 --- p.41
Chapter (一) --- 遣詞用字 --- p.41
Chapter 1. --- 玄學內容對遣詞用字的影響 --- p.42
Chapter 2. --- 語言和辭采 --- p.44
Chapter 3. --- 玄言詩中的虛字 --- p.47
Chapter 3.1. --- 虛字的數量 --- p.48
Chapter 3.2. --- 虛字對詩歌藝術特色的影響 --- p.50
Chapter a. --- 虛字與意象的表現 --- p.50
Chapter b --- .「以文爲詩」與虛字的關係 --- p.52
Chapter c. --- 虛字與情感的表達 --- p.54
Chapter d. --- 小結 --- p.56
Chapter (二) --- 修辭手法 --- p.57
Chapter 1. --- 比喻 --- p.57
Chapter 1.1. --- 玄言詩中的比喻 --- p.57
Chapter 1.2. --- 比喻手法與東晉玄言詩的藝術特色 --- p.58
Chapter 2. --- 聲律節奏 --- p.61
Chapter 2.1. --- 清談對聲律節奏的影響 --- p.61
Chapter 2.2. --- 東晉玄言詩的聲律節奏 --- p.62
Chapter 3. --- 玄言詩中的典故 --- p.66
Chapter 第四節 --- 結語 --- p.68
Chapter 第五章 --- 東晉玄言詩的淵源與發展 --- p.69
Chapter 第一節 --- 玄言詩的源頭 --- p.69
Chapter (一) --- 「《詩》、《騷》之體盡矣 」 --- p.69
Chapter (二) --- 東晉玄言詩與《詩經》 --- p.70
Chapter 1. --- 東晉時《詩經》的地位 --- p.70
Chapter 2. --- 《詩經》對東晉玄言詩的影響 --- p.72
Chapter 2.1. --- 文本關係 --- p.72
Chapter 2.2. --- 體裁風格方面的影響 --- p.74
Chapter (三) --- 東晉玄言詩與楚辭 --- p.76
Chapter 1. --- 「熟讀離騷」的啓示 --- p.76
Chapter 2. --- 東晉玄言詩與楚辭的直接關係 --- p.77
Chapter 2.1. --- 童蒙者拾其香草 --- p.77
Chapter 2.2. --- 吟諷者銜其山川 --- p.78
Chapter 3. --- 間接影響一一情感表達與屈子精神 --- p.80
Chapter 第二節 --- 東晉玄言詩與前代詩歌 --- p.82
Chapter (一) --- 題材 --- p.82
Chapter 1. --- 詩歌中的說理傳統 --- p.82
Chapter 2. --- 嵇康、阮籍詩中的玄言 --- p.84
Chapter (二) --- 體 裁 --- p.86
Chapter 1. --- 東晉玄言詩的體裁 --- p.86
Chapter 2. --- 東晉四言詩的背景 --- p.87
Chapter 2.1. --- 玄學思想 --- p.88
Chapter 2.2. --- 哲學著作 --- p.89
Chapter 2.3. --- 魏晉四言詩 --- p.89
Chapter 3. --- 四言詩對東晉玄言詩之影響 --- p.91
Chapter (三) --- 情感風格 --- p.93
Chapter (四) --- 篇章結構 --- p.96
Chapter (五) --- 小結 --- p.97
Chapter 第三節 --- 東晉玄言詩與山水詩 --- p.98
Chapter (一) --- 玄言詩中的山水因素 --- p.99
Chapter (二) --- 山水興起的背景探討 --- p.103
Chapter 1. --- 地理環境 --- p.103
Chapter 2. --- 文學作品 --- p.105
Chapter 3. --- 玄學思想 --- p.108
Chapter (三) --- 玄言詩與山水詩的傳承關係 --- p.109
Chapter 第四節 --- 玄言詩與後代詩歌理論 --- p.115
Chapter (一) --- 東晉詩歌理論試探 --- p.115
Chapter 1. --- 東晉典籍及著作中所見詩歌理論試析 --- p.116
Chapter 1.1. --- 《抱樸子》 --- p.117
Chapter 1.2. --- 《世說新語》 --- p.119
Chapter 1.3. --- 東晉詩序 --- p.121
Chapter (二) --- 東晉玄言詩所見之詩歌理論試析 --- p.122
Chapter 1. --- 由東晉玄言詩的藝術特色見其詩歌理論 --- p.123
Chapter 1.1. --- 創作論之一：詩歌對形式美的追求 --- p.123
Chapter 1.2. --- 創作論之二：詩歌對聲律節奏的重視 --- p.124
Chapter 1.3. --- 欣賞論之一：東晉玄言詩的情感表達 --- p.125
Chapter 1.4. --- 欣賞論之二：玄言詩對雅與正的追求 --- p.127
Chapter 2. --- 東晉玄言詩中詩論成分綜述 --- p.128
Chapter (二) --- 玄言詩與詩歌形式理 論 --- p.133
Chapter 1. --- 詩歌形式論 --- p.133
Chapter 2. --- 語言修辭 --- p.134
Chapter 3. --- 聲律節奏 --- p.138
Chapter 4. --- 篇章結構 --- p.140
Chapter (三) --- 玄言詩與意境觀念 --- p.143
Chapter 1. --- 意境觀念 --- p.143
Chapter 1.1. --- 意境觀念的發展 --- p.144
Chapter 1.2. --- 「意境」的槪念 --- p.146
Chapter 2. --- 意境學說與老莊玄學 --- p.148
Chapter 2.1. --- 老莊之「道」一一意境學說的哲學基礎之一 --- p.149
Chapter 2.2. --- 言不盡意一一魏晉玄學對意境學說的直接影響 --- p.151
Chapter 3. --- 東晉玄言詩與意境觀念 --- p.154
Chapter 3.1. --- 詩歌風格 --- p.154
Chapter 3.2. --- 意境的層次 --- p.157
Chapter 3.3. --- 意境的基本要素 --- p.159
Chapter 第六章 --- 結語 --- p.162
參考文獻 --- p.165
附錄一：東晉玄言詩人與玄言詩作對應表 --- p.173
附錄二：東晉玄言詩篇章 --- p.175
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WINSTED, Margareta. "Poetická imaginace anglikánské spirituality ve vybraných dílech metafyzických básníků 17. století." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-54553.
Full textAbstract:
The thesis concerns an aspect of poetic imagination in the works of 17th century metaphysical poets and examines the way these poets were influenced by the Church of England. In addition, it identifies elements of Anglican spirituality in their works. The first section analyzes the concept of Christian spirituality and the specifics of Anglican spirituality. Anglican spirituality is closely linked with the historical origins and development of the Anglican Church. In the second section, there is a description of poetic imagination and the relationship between poetics and spirituality. The thesis describes the concept of so-called metaphysical poets. The works of three selected authors are examined to identify poetic expressions of general, theological issues. Theological themes emphasized in Anglican spirituality are compared with those expressed in metaphysical poetic imagination. The aim of this thesis is to find the role of poetics in general, theological discourse.
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Medeiros, Caio Di Palma de Souza. "Resto Cantable em Três Movimentos: Memória Poética e Inscrição Matérica em José Ángel Valente." Doctoral thesis, 2020. http://hdl.handle.net/10316/94389.
Full textAbstract:
Tese de Doutoramento em Materialidades da Literatura apresentada à Faculdade de Letras da Universidade de CoimbraNa presente tese, investigar-se-á a razão poética do escritor galego José Ángel Valente a partir de uma de suas questões mais centrais: a matéria e a memória. Poeta metafísico por excelência, Valente pensou rigorosamente a palavra poética a partir de uma questão originária: a relação entre seus centros germinativos (memória poética) e seus procedimentos operatórios (inscrição matérica). Num primeiro momento, se discutirá o impacto da Guerra Civil Espanhola e da II Guerra Mundial sobre o seu vitalismo poético, cujo efeito culminou na radicalidade de uma escritura essencialista. Escritor de um século distópico, a sua descrença no século XX se converteu em investigação sobre um logos poético originário, cuja palabra inicial restaura uma leitura essencial sobre a matéria. De fato, Valente procurou recuperar um valor antropológico para a poesia, a partir do qual o homem possa ler uma imagem válida de si, com a qual possa repensar a sua constituição transhistórica e individual. Num segundo momento, discutir-se-á as influências estéticas e culturais que conferiram à sua escritura poética um aspecto por vezes ditirâmbico, e à sua produção ensaísta, um tom dialógico. De modo a se pensar a sua materialidade poética enquanto uma síntese de meditações entre pares, a estrutura capitular da tese foi organizada como ‘conversações’, nas quais se discutiu as suas afinidades intelectuais com poetas, escultores e pensadores. De fato, todas essas escutas culturais e reminescências estéticas conduziram sua escritura para aquilo que, um dia, a poesia fora para os calígrafos chineses e para os poetas zen-budistas do haiku japonês: um método profano de ascese para o conhecimento. Portanto, o que a presente tese apresenta é uma leitura sobre a construção da razão poética valentiana desde os seus fundamentos pré-expressivos até a gestualidade do seu acto poético. Para esse fim, discutir-se-á a obra de José Ángel Valente a partir de três movimentos compositivos: I) legados hermenêuticos e a questão poética; II) intenções gnósticas e a gestualidade inscricional; III) matrizes geradoras e a escritura poemática.
In the present dissertation, It has been investigated the poetic reason of the Galician writer José Ángel Valente, regarding one of his central questions: materiality and m emory. Metaphysical poet par excellence, Valente thought the poetic word rigorously from one primary question: the association between its germinal centres (poetic memory) and its operative procedures (material inscription). In a first moment, It has been discussed the impact of the Spanish Civil War and the Second World War over his poetic vitalism, whose effects culminated in the radicalism of an essentialist scripture. Writer of a dystopic century, his disbelief in the twentieth century was converted in an investigation about an original poetic logos , whose palabra inicial restores an essential reading in materiality. As a matter of fact, Valente aimed to revive an anthropologic significance to poetry, from which the humankind would be able to read an aut hentic image of itself, rethinking its transhistoric al and individual constitution. In a second moment, It has been discussed the aesthetic and cultural influences that added a dithyrambic aspect, sometimes, to his poetic writing; and a dialogic tone to hi s essayistic production. In order to rethink his poetic materiality as a synthesis of meditative acts between peers, the dissertation chapter structure was organized as ‘ conversations’, in which it is discussed his intellectual affinities with poets, sculp tors and thinkers. In truth, all these cultural hearings and aesthetic reminiscences led his writing to what, one day, poetry had been for the Chinese calligraphers e for the Japanese haiku Zen Buddhist poets: a profane method of a sceticism to achieve know ledge. Therefore, this present dissertation delivers an examination concerning Valen te’ s poetic reason invention, from his pre expressive fundamentals to the gesture of the poetic act. For this purpose, it has been discussed José Ángel Valente's work regar ding three compositive movements: I) Hermeneutic legacies and the poetic question; II) Gnostic intentions and the inscriptional gesture; III) Generating matrices and the poematic writing.
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Borisova-Yurkovskaya, Elena. "Структуральный анализ оснований и практик философии русского символизма." Doctoral thesis, 2015.
Find full text
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El, Housseini Rhéa. "Du dialogue entre pensée et poésie chez le second Heidegger." Thèse, 2014. http://hdl.handle.net/1866/11143.
Full textAbstract:
Le réveil de la question de l’Être fut le grand leitmotiv de la pensée de Martin Heidegger. Or cette question ne trouve pas la même formulation de Sein und Zeit jusqu’aux derniers écrits. En effet, si l’œuvre maîtresse du penseur prépare le terrain pour un questionnement sur le langage et la parole authentique, elle ne rattache pas explicitement la problématique de l’Être à celle de la poésie. À partir du milieu des années trente, un tournant se fera jour : la poésie deviendra un partenaire privilégié dans la mise en œuvre de la question de l’Être. Cette tendance de pensée se radicalisera dans les décennies ultérieures, où la compréhension du langage véritable comme poème deviendra de plus en plus centrale. À quoi tient ce rôle imparti au discours poétique dans l’œuvre de Heidegger? Quelle place occupe le dire poétique dans le cadre plus large d’une herméneutique philosophique tournée vers l’aspect langagier de toute existence? Comment comprendre le lien entre une pensée de l’Ereignis, du Quadriparti et de la fondation de l’Être à travers le dire du poète? Enfin, quels parallèles faut-il dresser entre les tâches respectives du penseur et du poète dans le contexte d’un dialogue authentique? Ces questions guideront notre parcours et traceront la voie d’une interprétation dont l’accent portera sur les thèmes privilégiés du dépassement du langage conceptuel de la philosophie, de la place déterminante du Sacré et de la responsabilité insigne du poète et du penseur dans le projet de la garde de l’Être. Notre objectif sera d’éclaircir le sens de ce recours à la poésie afin de mieux comprendre en quoi Heidegger a pu trouver dans un tel dialogue les ressources nécessaires qui alimenteront l’élan de son unique quête : une approche authentique du sens de l’Être, de son alètheia et de son topos. On sait l’importance de ce dialogue : estimant que la métaphysique s’était caractérisée par un « oubli de l’être » (Seinsvergessenheit), Heidegger juge qu’une autre pensée (das andere Denken) reste malgré tout possible, mais qu’elle aurait à se déployer en tant que dialogue entre pensée et poésie.The awakening of the question of Being was the great leitmotiv in Heidegger’s thought. This question does not exactly present a uniformity of formulation from Sein und Zeit to the last writings. In fact, if the main work of our thinker prepares the ground for a questioning of language and authentic speech, it does not yet explicitly link the problematic of Being to that of poetry. However, starting in the thirties, a turn will take place: poetry will become a privileged partner in the implementation of the question of Being. This tendency will become more radical in the subsequent decades, when the understanding of true language as poem will become increasingly focal. What lies behind this role allotted to poetic discourse in the work of Heidegger? What place has been reserved to the poetic saying in the larger frame of a philosophical hermeneutics directed towards the linguistic aspect of all existence? How shall one understand the link between a thought of the Ereignis, a quadripartite conception of the world and the foundation of Being through the saying of the poets? What parallels shall one draw between the respective tasks of the thinkers and poets in the context of an authentic dialogue? These questions will guide our journey and therefore trace the path for an interpretation with a particular emphasis on the privileged themes of the overstepping of traditional philosophy’s conceptual language, of the determining place of the Sacred and of the decisive responsibility of poets and thinkers in the project of the care of Being. Our aim will be to clarify the meaning of this recourse to poetry for a better understanding of how Heidegger has found in such a dialogue the conceptual resources that will fuel the momentum of his unique quest: an authentic approach of Being. The importance of this dialogue is indubitable: knowing that the history of metaphysics was characterized by the “forgetfulness of being” (Seinsvergessenheit), Heidegger thinks that another thought (das andere Denken) is still possible, but that it would have to unfold as a dialogue between thinking and poetry.
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Allan, Michele Margaret. "‘LIQUID SPACE’: a visual investigation of the sea as an empirical, experiential and metaphoric space." Phd thesis, 2013. http://hdl.handle.net/1885/13491.
Full textAbstract:
Artworks produced in this studio-based research (option D) involve exploration
of the ‘liquid space’ of the sea, not just in its physical and sensual nature and the
way the sea looks, but also with what the sea inspires. They explore the spatial
dynamics of underwater terrains, convergences of inner and outer ‘space’, and
question if and how the numinous and immaterial might be made manifest in the
material. References to the traditional story of Jonah and the Whale operate as a
contemporary metaphor for the sea as a site of death and renewal. Through the
creation of series of paintings, works on paper and engraved glass overlays, the sea
is examined as a synthesis of the complex and diverse on many fluidly interacting
levels, including the empirical, experiential and metaphoric. As a poetic space with
many levels of resonance, it becomes ground for exploring the creative process,
the nature of being and processes of transformation and change within each.
Research questions include: What might a contemporary expression of
the interaction of the physical and metaphysical self be like? How might a
synthesis of abstraction and representation be created in the visual language of
painting? How might concepts of unity be reconciled with rhythms of death and
renewal, transformation and change? Does unity necessarily mean uniform?
A significant aspect of this research has been the generation of artworks on or through
field trips to locations by the sea - Cape Leveque in North-east Australia, Heron Island
Research Station on the Great Barrier Reef and South Bruny Island in Tasmania. In
exploring the interface between abstraction and representation, unity and diversity,
and the inner and outer worlds, I have discovered the sea rich ground for reenvisioning
these seeming opposites as co-creative, relational and finally inseparable.
The ‘Wave’ structure of the Exegesis is more than usually organic in form. Conventional
chapters are replaced by multiple and varied sections, each called a WAVE and written
in changing ‘voice’. Echoing the shifting rhythms of the sea, and in order to correspond
more directly to the way practice-driven research creates meaning, the wave structure
reflects the wider concerns of the research to synthesise the unexpected and diverse.