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1
Watt, Nuala Catherine Morley. "Partial sight, dependency and open poetic forms." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6289/.
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This thesis aims to characterize the poetics of partial sight. It first places these poetics within a theoretical framework and then enacts them in a collection of poems. The thesis treats partial sight not primarily as a physiological fact but rather as symbolic of the limitations of human vision. It draws inspiration from the Homeric epics, which acknowledge these limits and show the dependency they bring, whether on the Muse or on other factors external to the poet’s conscious self, as central to poetic composition. The persistent trope of the blind poet, who loses his sight but gains creative vision, highlights links between partial sight and the partial apprehension that poets experience as they engage with an emerging poem. Both situations highlight the partial nature of human perception in a mysterious world and both necessitate dependency on factors beyond the self for success. Critically and creatively the thesis charts an evolving awareness of the importance of partial sight in poetic composition. This awareness has gradually inspired perspectival and methodological changes. The project began as a desire to challenge those poetic representations of blindness that cast it less as a valuable creative perspective than as a symbol of anxiety about dependency and consequent lack of agency. Early versions of the thesis sought to challenge this pattern by asserting the selfhood of figures with visual impairment as part of a disability-based identity poetics. This practice encouraged the use of relatively closed forms that stressed a speaker’s personal vision. However, as the thesis developed it took more account of the power dynamics that underpin poetic form. It became apparent that an overly closed approach could undermine the project’s aims by replicating poetic practices that have facilitated the use of blindness in poetry as an edifying spectacle for sighted readers. Such formal choices can also create a sense of certainty that troubles an aesthetic of partial sight. Moreover, the thesis argues that to confine discussions of partial sight to identity poetics radically restricts our understanding of the poetics of partial sight, dependency and open forms and leaves these poetics insufficiently imagined. It draws on the work of Alan Grossman, Rae Armantrout and Larry Eigner among others, to reimagine partial sight and dependency as a route to poetic knowledge. The poetry collection moves from exploring partial sight as a source of identity to using the combination of partial sight and dependency as a generative principle. Different poems express this principle through troubled syntax, variable lineation and the deformation by erasure of pre-existing texts on blindness. The thesis seeks to demonstrate that partial sight and dependency are experiences shared by, and relevant to, all writers and readers of poetry. It returns to an earlier understanding of these factors, which sees them not as sources of social anxiety, but rather as creative catalysts that open the way to new poetic possibilities. In so doing it aims to challenge understandings not only of poetics but also of the meaning of disability.
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Gutierrez, Ignacio Brasa. "Empathetic processes, poetic forms, and heterogeneous approaches to composition." Thesis, University of Southampton, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664753.
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Finding a balance between intellectual tools and a spontaneous development of ideas is one of the most challenging aspects of composition. With the common ground of a preference for rich and varied musical grammars, this thesis looks at three different strategies to organize materials and structures, and explores the individuality and variety that emerges from an improvisatory approach to writing music. The research that is described in this commentary has resulted in the development of a rational system that, using mathematical constants, modifies pitch, durations and dynamics in a continuous and predetermined way. The relevance of this method lies on its potential to unfold directional material and create subtle deviations from an original sound or group of sounds. A second strategy explores music in which motivic connections relate analogously to poetic structures. This approach reveals the potential of literary forms to construct meaningful musical nanatives; phonetic resemblances are translated into motifs in order to experiment with the proportions and rhythms of poetry. Finally, free compositional strategies (variant types of improvisation) have been used to create a comprehensive musical language. Making use of textures and techniques that derive from the previous two strategies, this approach draws upon atonality and elements borrowed from functional tonality to outline heterogeneous narratives. In relation to form, the contrast between complex textures and simple settings, and the coexistence of diverse materials, contribute to yield dynamism and directionality. Richness is an essential part of this language as musical objects are frequently presented in a wide variety of forms.
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Farmer, Gareth. "Veronica Forrest-Thomson, poetic artifice and the struggle with forms." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/39713/.
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This thesis examines the poetry and critical work of Veronica Forrest-Thomson, arguing that her poetic project is characterised by her ‘struggle with forms'. Forrest-Thomson developed many formal models of poetry in her critical writing which acted as ideals to be enacted in practice. The broad struggle in Forrest-Thomson's poetic project is, then, between the formal projections of theory and a variety of forms of poetic practice; between, that is, the fixed and totalising frames of theory and the local patterns of form and meaning which exceed the logic of an ideal model. This thesis examines the struggle between theoretical and practical forms through consecutive stages in Forrest-Thomson's career. First, I examine Forrest-Thomson's attempt to combine Romantic, formalist and modernist poetic theories in an early manifesto. Her early, conflicted theoretical perspectives, I argue, transferred to her poetry as tensions between a use of traditional poetic forms and a variety of free, formal modes. Second, I demonstrate how conflicts between traditional and innovative form in the poems were exacerbated by Forrest-Thomson's developing interest in artistic theory and concrete poetry. Third, I assess the influence of Ludwig Wittgenstein's linguistic philosophy on Forrest-Thomson's theory and practice, concentrating on her use of his notion of ‘language-games' to inform collage-like poems and the idea that the poem is a ‘context' absorbing and transforming others. At this stage, Forrest-Thomson's theory and poetry also exhibit tensions between modernist and post-modernist perspectives which induce an anxiety of losing control at the level of poetic form for which she compensates with an emphasis on traditional literary figures and forms. Fourth, I examine Forrest-Thomson's Poetic Artifice: A Theory of Twentieth-Century Poetry as an example of a particular type of formalism where fixed metaphors of poetic form comprise both the polemical strength and conceptual weakness of her poetic theory. Lastly, I outline the struggle between formal and semantic control and excess in Forrest-Thomson's late theory and poetry, arguing that her quest for what she calls ‘writing straight' is impeded by her conflicted assessment of the role and status of complex poetic form.
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Gonçalves, Murilo de Almeida. "A poética de Paulo Henriques Britto: tensões entre subjetividade e forma." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-17072018-131338/.
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A presente dissertação tem como objetivo examinar alguns poemas que compõem a obra do escritor carioca Paulo Henriques Britto, a fim de que identifiquemos características que constituem sua poética. As análises irão recair sobre temáticas mais saliente de sua obra, como a questão do fazer poético, e as possibilidades de constituição de uma subjetividade. Acreditamos que observar cuidadosamente essa obsessão do autor por determinados temas nos ajudará a compreender características que constituem a lírica sua lírica.The present dissertation aims at examining some poems that compose the work of the writer Paulo Henriques Britto, in order to identify characteristics that constitute his poetics. The analyzes will fall on the most salient themes of his work, such as the question of making poetic, and the possibilities of constitution of a subjectivity. We believe that carefully observing this author\'s obsession with certain themes will help us to understand the characteristics that constitute his lyric.
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Lafford, Erin. "Forms of health in John Clare's poetics." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:c4171968-0d36-4c33-9536-dc75c4d02b4e.
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This thesis is the first sustained study of the poet John Clare and his relationship to health. It considers health as an under-explored physical and mental state evoked across his poetry and prose that has heretofore been overshadowed by a critical preoccupation with his supposed madness. Under the banner of the Medical Humanities, I angle a critical lens on Clare and health beyond biographical readings of his mental deterioration and onto his written responses to the medical, cultural, and social understandings of health by which he was surrounded. Specifically, I argue that Clare articulates both his comprehension and also experience of health through poetic form. I take a thematic approach to the reach of Clare's works composed between 1804-1864, and focus on what I argue to be the most predominant 'forms' that health takes across his poetics: voice, breath, and place. The chapters unfold the poet's engagement with eighteenth- and nineteenth-century medical contexts such as nosology and theories of insanity, speech and elocution, climatic and atmospheric medicine, phrenology, and botany, in order to consider how the local formal techniques of his poems (metre and prosody, rhyme and other sonic devices, caesura, enjambment, and line-endings) shape and re-work the ideas of mental and physical health that these contexts put forward. Throughout the thesis I bring together formal and historical methodologies with modern phenomenological and cultural theories in order to draw out how Clare's exploration of health is both facilitated by the thinking of his own period, and also speaks to current research into health and illness as subjective experiences. Ultimately, I read health across Clare's poetry at the level of form in order to reveal how health inspires a textual mode that defies determinacy and unsettles distinctions between the healthy and the pathological. This thesis is the first sustained study of the poet John Clare and his relationship to health. It considers health as an under-explored physical and mental state evoked across his poetry and prose that has heretofore been overshadowed by a critical preoccupation with his supposed madness. Under the banner of the Medical Humanities, I angle a critical lens on Clare and health beyond biographical readings of his mental deterioration and onto his written responses to the medical, cultural, and social understandings of health by which he was surrounded. Specifically, I argue that Clare articulates both his comprehension and also experience of health through poetic form. I take a thematic approach to the reach of Clare's works composed between 1804-1864, and focus on what I argue to be the most predominant 'forms' that health takes across his poetics: voice, breath, and place. The chapters unfold the poet's engagement with eighteenth- and nineteenth-century medical contexts such as nosology and theories of insanity, speech and elocution, climatic and atmospheric medicine, phrenology, and botany, in order to consider how the local formal techniques of his poems (metre and prosody, rhyme and other sonic devices, caesura, enjambment, and line-endings) shape and re-work the ideas of mental and physical health that these contexts put forward. Throughout the thesis I bring together formal and historical methodologies with modern phenomenological and cultural theories in order to draw out how Clare's exploration of health is both facilitated by the thinking of his own period, and also speaks to current research into health and illness as subjective experiences. Ultimately, I read health across Clare's poetry at the level of form in order to reveal how health inspires a textual mode that defies determinacy and unsettles distinctions between the healthy and the pathological.
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Earles, Kristofer. "Mutation in blossom: an antithetical reading of the poetry of Anne Sexton through the aesthetics of D. H. Lawrence." Thesis, Boston University, 2009. https://hdl.handle.net/2144/28563.
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Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Barry, K. M. "Language, music and the sign : A study in aesthetics, poetics, and poetic practice form Collins to Coleridge." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377253.
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Cabri, Louis de Meillon. "A poetics of aesthetic forms." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq20783.pdf.
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BISI, MONICA. "Poetica della metamorfosi e poetica della conversione: scelte formali e modelli del divenire nella letteratura." Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/381.
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Questo lavoro mira ad offrire una nuova prospettiva dalla quale leggere la dialettica fra cultura pagano-mitica e cultura cristiana che attraversa tutta la tradizione letteraria italiana. Tema comune alle due visioni del mondo, la trasformazione è figura guida dell’intera ricerca, figura che assume declinazioni differenti e prende il nome di metamorfosi nella cultura mitica e quello di conversione nella cultura cristiana. La novità della prospettiva consiste nel tentativo di una lettura di carattere retorico di questi due fenomeni, con lo scopo di formalizzare due tipi di poetica che corrispondano al tema della metamorfosi e a quello della conversione. Applicando al vasto materiale offerto da Divina Commedia, Gerusalemme liberata, Adone, Promessi sposi, tragedie manzoniane e da alcune poesie tratte dall’Alcyone di d’Annunzio gli strumenti derivati dagli studi antropologici sui sacrifici arcaici di Girard e dalle intuizioni di Bottiroli a proposito della traduzione letteraria di alcuni schemi logici propri alla cultura occidentale si è potuta constatare una corrispondenza costante tra le forme dei contenuti ‘metamorfosi’ e ‘conversione’ e le particolari forme dell’espressione con cui essi sono stati rappresentati. Una volta individuate, le particolari forme dell’espressione sono state codificate in figure retoriche, tanto che si è giunti ad indicare lo schema, in generale, dell’antitesi come marca propria alla poetica della metamorfosi e la figura della correctio come caratteristica della poetica della conversione.This work aims at offering a new perspective from which it is possible to read the dialectic between the heathen-mythical culture and the Christian culture that runs through the whole literary Italian tradition. Transformation is the theme in common between the two visions of the world, it is the leading figure of the whole research and it assumes different forms. It takes the name of metamorphosis in the mythical culture and of conversion in the Christian culture. The novelty of this perspective consists in the attempt of a rhetorical reading of these two phenomena, in order to formalize two kinds of poetics., that could correspond to the theme of metamorphosis and conversion. Applying to the large materials offered by Divina Commedia, Gerusalemme liberata, Adone, Promessi sposi, tragedies by Manzoni and some poems from Alcyone by d’Annunzio the instruments deriving from the anthropological studies about archaic sacrifices by Girard and from the intuitions of Bottiroli about literary transposition of some logical schemes, which are typical of the Western culture, it was possible to notice a constant correspondence between forms of contents ‘metamorphosis’ and ‘conversion’ and the particular forms of the expression, with which they have been represented. Once they have been pointed out, the particular forms of expression have been codified in figures of speech, so that it was possible to indicate the overall scheme of the antithesis as the proper sing of the poetics of metamorphosis and the figure of correctio as the feature of the poetics of conversion.
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BISI, MONICA. "Poetica della metamorfosi e poetica della conversione: scelte formali e modelli del divenire nella letteratura." Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/381.
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Questo lavoro mira ad offrire una nuova prospettiva dalla quale leggere la dialettica fra cultura pagano-mitica e cultura cristiana che attraversa tutta la tradizione letteraria italiana. Tema comune alle due visioni del mondo, la trasformazione è figura guida dell’intera ricerca, figura che assume declinazioni differenti e prende il nome di metamorfosi nella cultura mitica e quello di conversione nella cultura cristiana. La novità della prospettiva consiste nel tentativo di una lettura di carattere retorico di questi due fenomeni, con lo scopo di formalizzare due tipi di poetica che corrispondano al tema della metamorfosi e a quello della conversione. Applicando al vasto materiale offerto da Divina Commedia, Gerusalemme liberata, Adone, Promessi sposi, tragedie manzoniane e da alcune poesie tratte dall’Alcyone di d’Annunzio gli strumenti derivati dagli studi antropologici sui sacrifici arcaici di Girard e dalle intuizioni di Bottiroli a proposito della traduzione letteraria di alcuni schemi logici propri alla cultura occidentale si è potuta constatare una corrispondenza costante tra le forme dei contenuti ‘metamorfosi’ e ‘conversione’ e le particolari forme dell’espressione con cui essi sono stati rappresentati. Una volta individuate, le particolari forme dell’espressione sono state codificate in figure retoriche, tanto che si è giunti ad indicare lo schema, in generale, dell’antitesi come marca propria alla poetica della metamorfosi e la figura della correctio come caratteristica della poetica della conversione.This work aims at offering a new perspective from which it is possible to read the dialectic between the heathen-mythical culture and the Christian culture that runs through the whole literary Italian tradition. Transformation is the theme in common between the two visions of the world, it is the leading figure of the whole research and it assumes different forms. It takes the name of metamorphosis in the mythical culture and of conversion in the Christian culture. The novelty of this perspective consists in the attempt of a rhetorical reading of these two phenomena, in order to formalize two kinds of poetics., that could correspond to the theme of metamorphosis and conversion. Applying to the large materials offered by Divina Commedia, Gerusalemme liberata, Adone, Promessi sposi, tragedies by Manzoni and some poems from Alcyone by d’Annunzio the instruments deriving from the anthropological studies about archaic sacrifices by Girard and from the intuitions of Bottiroli about literary transposition of some logical schemes, which are typical of the Western culture, it was possible to notice a constant correspondence between forms of contents ‘metamorphosis’ and ‘conversion’ and the particular forms of the expression, with which they have been represented. Once they have been pointed out, the particular forms of expression have been codified in figures of speech, so that it was possible to indicate the overall scheme of the antithesis as the proper sing of the poetics of metamorphosis and the figure of correctio as the feature of the poetics of conversion.
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Bretherton, David Tom. "The poetics of Schubert's song-forms." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491569.
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Combining the previously distinct genres of the traditional Tied and dramatic ballad is arguably Schubert's greatest contribution to song. Whilst the former is typically strophic the latter relies heavily on through-composition; combining the two allowed him to compose far more sophisticated song-forms in the service of musico-poetic expression. My thesis examines Schubert's songs from this perspective, and a central concern is the important role that recomposition of reprised material plays in his tertiary-form settings.
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SALEK, ANA TEREZA MUYLAERT. "POETICAL FORMS OF RUINS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=24566@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Na dissertação cartografa-se distintos modos com que a escrita e, num sentido mais amplo, as artes, se relacionam com a noção de ruína. Parte-se do ponto de tensão entre ruir e criar a fim de explorar o paradoxo de que nos fala Maurice Blanchot em O espaço Literário: a literatura se edifica a partir de suas próprias ruínas. Detendo o gesto cartográfico em uma região particular, tomo algumas obras do escritor e artista visual Nuno Ramos como ocasião favorável para refletir sobre a relação entre destruição e criação na fronteira entre escrita e linguagem visual. O trabalho segue dois eixos que se querem recíprocos, não hierárquicos: no primeiro eixo acentua-se a parte teórico-crítica da pesquisa. No segundo, apresenta-se poemas e outros textos pessoais, escritos que, produzidos ao longo da pesquisa, fazem parte da reflexão.
In this dissertation I cartograph distinct ways in which writing and, in a broader sense, the arts, relate to the notion of ruin. I begin at the point of tension between collapse and creation, to explore the paradox Maurice Blanchot speaks of in The Literary Space: Literature is built upon its own ruins. Holding the cartographic gesture in a particular region, I review works of the writer and visual artist Nuno Ramos as a favorable occasion to reflect on the relationship between destruction and creation on the border between written and visual language. The work follows two reciprocal axes, non-hierarchical: the first axis is emphasizes the theoretical and critical part of the research. In the second, it presents poems and other personal texts, writings produced during the research, and that are part of the reflection.
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Fogarty, William. "Local Languages: The Forms of Speech in Contemporary Poetry." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19662.
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Robert Frost’s legendary description of “the sound of sense” to define his poetics has for decades sounded like little more than common sense. His idea is now taken to be fairly straightforward: the inflections of an utterance resulting from the tension between demotic speech and poetic form indicate its purport. However, our accepted notion of Frost’s formulation as simply the marriage of form and meaning misconstrues what is potentially revolutionary in it: if everyday speech and verse form generate tension, then Frost has described a method for mediating between reality, represented by speech, and art, represented by verse form. The merger is not passive: the sound of sense occurs when Frost “drag[s] and break[s] the intonation across the metre.” And yet Frost places speech and verse form in a working relationship. It is the argument of this dissertation that poets reckon with what is often understood as discord between poetry and reality by putting into correspondence forms of speech and the forms of poetry. The poets I examine–Seamus Heaney, Gwendolyn Brooks, Tony Harrison, and Lucille Clifton–are concerned with their positions in local communities that range from the family unit to ethnic, religious, racial, economic, and sexual groups, and they marshal forms of speech in poetic form to speak from those locales and to counter the drag and break of those located social and political realities. They utilize what I call their “local languages”–the speech of their particular communities that situates them geographically in local contexts and politically in social constructs–in various ways: they employ them as raw material; they thematize them; they invent idiosyncratic “local” languages to undermine expectations about the communities that speak those languages; they devise generalized languages out of standard and nonstandard constructions to speak not just to and from specific locations but to speak more broadly about human experience. How, these poets ask, can poetry respond to atrocities, deprivations, divisions, and disturbances without becoming programmatic or propagandistic and without reinforcing false preconceptions about the kinds of language suitable for poetry? They answer that question with the living speech of their immediate worlds.
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Robinson, Joshua Mark. "Adorno's poetics of form." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610013.
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Eby, Lawrence V. "MEMORIC FORM: POEM AS MEMORY." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/52.
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Machinist in the Snow is a narrative long poem, much like a novel in verse that deals with the loss of memory and environmental rebirth. In the book, the narrator exiles himself into a frozen nature and attempts to return the frozen wasteland into its former, flourishing environment. The poems take on the memoric form of memory in a wide range of poetic forms from the traditional sonnet, haiku, or villanelle, to a scattered projective verse. In the center of these poems is an attempt to mimic the mind in the way that it shifts, in its moments of clarity, and in its attempt to dissect and understand the surrounding realities. Through logic patterning, deep image, and introspection, these poems are meant to give insight into what it means to be human in the digital age and to highlight the dwindling connection to the pastoral that is so deeply rooted in American society.
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Figueredo, Maria Lujan. "Poesia y musicalizacion, seleccion y recepcion del texto poetico en forma musicalizada, el caso Uruguayo, 1960-1985." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0005/NQ41153.pdf.
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Burdorf, Dieter. "Poetik der Form : eine Begriffs- und Problemgeschichte /." Stuttgart : Verl. J.B. Metzler, 2001. http://catalogue.bnf.fr/ark:/12148/cb38885114p.
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Ttoouli, George. "Twentieth century North American serial poetic form & ecological thinking." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/114480/.
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This thesis develops a reflexive methodology to read four North American long form poetic projects: Lorine Niedecker's North Central; Charles Olson's Maximus Poems; Robin Blaser's The Holy Forest; and Susan Howe's Souls of the Labadie Tract. The methodology, 'ecoseriality,' provides a way of reading serial structures in the 'web of life' (Jason W. More). Ecoseriality emerges through two research threads: ecological thinking (Lorraine Code, Dianne Chisholm), an interdisciplinary approach to ecological methodologies, and seriality, an extension of serial poetic form into an interdisciplinary understanding of serial qualities. The project's ecological thinking comprises a recombinant methodology primarily adapted from Moore's theories and methods for reading capitalism in the web of life, a number of philosophical approaches and concepts from Gilles Deleuze and Deleuze and Félix Guattari's A Thousand Plateaus, and Fredric Jameson's cognitive mapping. The project's seriality begins with Joseph M. Conte's typology of serial poetic form, Unending Design: the Forms of Postmodern Poetry, reading serial structures across genres and disciplines to refresh understanding of serial poetry and poetics. Ecoseriality develops along three primary, overlapping lines of inquiry: Moore's oikeios, adapted to read competing subjectivities and values brought to bear on relations in the web of life; Jameson's cognitive mapping, adapted into a post-Cartesian strategy for reading the imbrication between matter and meaning; and an examination of how the parts of a series relate to the whole. The project applies these foci to the four case studies, exposing fresh perspectives on the poetry and poetics of each. By reading Howe's 'cannibal cosmology' (Miriam Nichols) through Moore's theories of world-economy and world-ecology, the thesis arrives at an understanding of ecoseriality as an ethical ecological practice within the complex series of relations in the web of life. Ecoseriality thereby emerges as an oikeios for valuing complex relations in the web of life. The analysis concludes with discussion of the cosmological values of the serial poetic projects examined in relation to ecological thinking.
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Sourgen, Gavin Oliver. "'Artlessness and artifice' : Byron and the historicity of poetic form." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:c5487012-3205-483f-9a98-4e679662a74d.
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This thesis examines the conscious amalgamation of conflicting forms in Byron’s verse, and how these forms strain to create meaning in the processes of his poetry. Through a series of close readings and critical engagements with other Romantic poets, I endeavour to show how Byron’s poetry is often a rich site of contention between revolutionary and conservative impulses; both in its style and subject matter, and more often than not, in the complicated relationship between them. Beginning with Byron’s problematic place in the English Romantic canon, I attempt to lay a foundation for my claims that for all his mistrust of closed systems and predetermined positions there remained an urging desire to reconcile definitive artistic contour with internal form-developing process in many of his most intense poetic engagements. In his efforts at reconciling an awareness of the ever-moving provisional nature of subjectivity with a deep-rooted demand for evaluative permanence, Byron habitually employs a hybrid poetic idiom which seeks to be both timeless and time specific. In many of his most distinctive compositions, Byron holds a so-called ‘High Romantic’ lyrical mode, in which meaning is immersed in a persistent flowing rhythm, in tension with an eighteenth-century rhetorical style in which the careful placement of weighty words offsets its continuity to striking effect. By bookending my enquiry with Byron’s penetrating discursive conflicts with the naïve lyrical impulses of Wordsworth’s blank verse and what he perceived as the rhetorical appropriations of Keats’s poetry, I wish to demonstrate that Byron’s poetry enacts a curious meeting of nature and culture by a refusal to cleave them.
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Oldert, David. "Ideas of poetic form: aspects of the Romantic-Symbolist tradition." Thesis, Rhodes University, 2016. http://hdl.handle.net/10962/54554.
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The subject of the work is some of the formal and technical developments of modern poetry in the Romantic-Symbolist tradition. These developments were stimulated partly by the ideas of the non-intellectual Symbol inherited from the Romantics and the idea that poetry could be a musical medium inherited from some of the French Symbolists. Their combined influence led to a number of technical problems in the structuring of imagery and the handling of syntax. The work begins, therefore, by tracing the philosophical assumptions behind the ideas of the Symbol and of the musical analogy. I then go on to examine two of the difficulties that these ideas produced. One is the tension between the analogical structure of a poem’s imagery and its metaphorical texture: quite simply, the more compressed and complex a poet’s metaphors become, the more they tend to disrupt the poem’s structure of imagery. The other problem is obscurity, which is caused by insufficient objectification of private images in a symbolic structure, and by fused metaphor, which is essentially a metaphor with an obscured ground of resemblance. Finally, I show how these difficulties were solved by poets outside the tradition who used a more articulate kind of syntax, yet who also managed to combine that syntax with the ideal of symbolic form. The implicit argument, then, is that the Romantic-Symbolist ideas of form, and the New Critics’ theories of form which were largely based on them, are able to elucidate an essentially different kind of poetry, and thus have some degree of truth and use beyond the tradition that generated them.
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Mackenzie, Kenneth Thomas Munro. "Presocratic poetics : Parmenides, Empedocles and literary form." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:fee2e7ab-fa4d-4f16-834b-162f98d020fa.
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This thesis aims to locate the poems of Parmenides, Empedocles and, to a lesser degree (due to paucity of evidence), Xenophanes in their literary context, and to begin to explain the ways in which they are designed to perform their didactic function. Chapters 1-4 focus on their generic status, as it is indicated by their form, content, and use of intertextuality. I suggest that the work of all three poets can be seen to draw upon the distinctive traditions of hexameter poetry on the one hand, and Ionian prose on the other. Moreover, Parmenides' type of narrative, with its detailed first person description of a supernatural journey, and its use of a divine narrator for the majority of the poem, seems unprecedented in canonical Greek hexameter texts, although this type may have occurred in more obscure, fragmentary poems such as those attributed to Aristeas and Epimenides. I argue that Empedocles' fragments come from a single poem which seems to invert this narrative pattern: instead of a mortal leaving the familiar world to meet a deity, a deity comes to the familiar world to meet with mortals. Chapters 5 and 6 aim to reconstruct Parmenides and Empedocles' theories of knowledge-acquisition: as the aim of both texts appears to be to bring their audiences from ignorance to knowledge, these theories can provide an explanation for the desired effect of the poems. Both Parmenides and Empedocles present knowledge as being from a divine source, which may offer an explanation for their choice of verse and use of divine narrators. Moreover, I argue that both present the acquisition of knowledge as one of purifying the divine component of the soul from its mortal component. This process may provide an explanation for the religious imagery of the poems, in particular the use of imagery that evokes initiation into mystery cults. In Empedocles' case, this process can also account for some of the ways in which the narrator comments on and characterizes the text itself: the poem is presented, in physical terms, as being composed of Love, the substance responsible for the acquisition of knowledge. Chapter 7 then explores some of the consequences of Parmenides and Empedocles' epistemological theories for their use of language and of certain formal literary features. It argues that differences between their uses of intertextuality can be explained as a consequence of differences in their epistemologies. A further consequence of their philosophical theories is that the two poets describe the world from both a divine and from a mortal perspective. I suggest that this leads them to employ a more developed and self-conscious form of allegory than anything found in earlier Greek literature: we are encouraged to interpret the 'mortal' sections of the text allegorically, by rejecting the literal meaning of the vocabulary and understanding the terms as referring to something else. An epilogue outlines some further literary-critical aspects of these texts which could be explored to specify the role that the two poets played in the history of the didactic genre, and of Classical literature in general.
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Santiesteban, Vicky Lee. "The Woman in the Box is Smiling." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278120/.
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The Woman in the Box is Smiling is a collection of poems, prose poems, short-short stories, and short stories. The introduction is a personal essay which discusses form as a device used to gain control over subject matter.
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Hall, Jason David. "Versus : Seamus Heaney and the poetics of form." Thesis, Birkbeck (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406092.
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Seamus Heaney's poetry is characterized by a friction between the poet's ideas and his formal medium. Few studies, however, have interrogated the extent to which much of the meaning of Heaney's poetry resides in the negotiation between form and content. This thesis examines Heaney's preoccupation with traditional metre and verse form, hoping to demonstrate the necessity of formal analysis as a way of accessing meaning in Heaney's poetry. 2 One function of my thesis is to discover what can be gained from an explication of the formal features of Heaney's poetry. However, I have not adopted a rigidly formalist approach. My reading of the form of Heaney's verse recognizes that a poem has its genesis in an historical moment, that it may 'mean' differently at different times and that locating meaning requires an examination of verse form and its function in the process of ideological signification. With these aims in mind, I endeavour to explicate the formal mechanisms that themselves generate meaning while devoting attention to the exchange between the aesthetic object and its ideological bearings. As a result of this dual obligation, I pay particular attention to the interplay between convergent discourses. Poetry in traditional forms adheres to certain codes, and these codes are at once formal--quantifiable, mechanical, technical, mathematical, universally applicable and available-while at the same time they are ideological-historical, confrontational, (un)avoidable, deconstructible, sometimes objectionable. Much of the meaning of Heaney's poetry resides at the intersection of these codes. The text of the thesis comprises five chapters. Chapter 1 is devoted to an examination of the poetry Heaney composed as a student at Queen's University; chapter 2 examines Heaney's involvement with the Belfast Group; chapter 3 explores Heaney's experimentation with unconventional verse forms; chapter 4 offers an analysis of Heaney's management of a particular fixed form, the sonnet. The thesis concludes with a postscript that looks at negative assessments of Heaney's formalism and ponders the role of traditional verse forms in a postmodernist poetics.
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Gauthier, Élise. "Entre vita activa et vita contemplativa, la "vita poeticia" de Nicolas Barthélémy de Loches, un moine-poète du début de la Renaissance française." Thesis, Tours, 2018. http://www.theses.fr/2018TOUR2010.
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Bien qu’il ait inspiré des contemporains plus célèbres, tels François Rabelais et Clément Marot, et fréquenté des humanistes de premier plan, bien qu’il soit l’auteur d’une forme de tragédie latine inédite et maintes fois rééditée, et d’une chronique du règne de Louis XII connue des historiens, le poète néo-latin Nicolas Barthélemy de Loches est resté parfaitement méconnu. Il est ainsi nécessaire de rassembler, corriger et compléter les données dont on peut disposer sur ce personnage et ses oeuvres, mais aussi de reconstituer le cadre social, littéraire et historique dans lequel il a vécu et composé, afin de réévaluer la diversité et la richesse poétique de ses oeuvres. Ces données suffisent à montrer que les écrits de Barthélemy ne sont pas ceux d’un moine cloîtré, mais bien plutôt ceux d’un véritable humaniste engagé dans les réformes de son temps, qu’elles soient pédagogiques, monastiques ou évangéliques. L’édition d’un des recueils poétiques de Barthélemy les plus représentatifs de sa production littéraire (le recueil varié paru à Paris en 1520) vient nourrir et confirmer cette lectureAlthough he inspired famous contemporaries like François Rabelais or Clément Marot, and spent time with leading humanists, although he wrote a new Latin tragedy form many times reprinted and a chronicle about the reign of Louis XII familiar to historians, very little is known about the Neo-Latin poet Nicolas Barthélemy de Loches. Collecting, correcting and completing existing data about the man and his writings is necessary, as well as the reconstruction of the social, literary and historical environment in which he lived and wrote, in order to reevaluate the poetic diversity and richness of his work. Such data are enough to show that Barthélemy’s works were not written by a cloistered monk, but rather by a true humanist involved in the pedagogical, monastic and evangelical reforms of his time. The edition of one of the most representative poetic collections written by Barthélemy (a varied collection printed in 1520 in Paris) supports and confirms this interpretation
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Jones, Ewan James. "The philosophy of poetic form in the work of Samuel Taylor Coleridge." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609882.
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Skerratt, Brian Phillips. "Form and Transformation in Modern Chinese Poetry and Poetics." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11116.
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Hu Shi began the modern Chinese New Poetry movement by calling for the liberation of poetic forms, but what constitutes "form" and how best to approach its liberation have remained difficult issues, as the apparent material, objective reality of literary form is shown to be deeply embedded both culturally and historically. This dissertation presents five movements of the dialectic between form and history, each illustrated by case studies drawn from the theory and practice of modern Chinese poetry: first, the highly political and self-contradictory demand for linguistic transparency; second, the discourse surrounding poetic obscurity and alternative approaches to the question of "meaning"; third, a theory of poetry based on its musicality and a reading practice that emphasizes sameness over difference; four, poetry's status as "untranslatable" as against Chinese poetry's reputation as "already translated"; and fifth, the implications of an "iconic" view of poetic language. By reading a selection of poets and schools through the lens of their approaches to form, I allow the radical difference within the tradition to eclipse the more familiar contrast of modern Chinese poetry with its foreign and pre-modern others. My dissertation represents a preliminary step towards a historically-informed formalism in the study of modern Chinese literature.East Asian Languages and Civilizations
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Conlon, Rose B. "Toward a New American Lyric: Form as Protest in Claudia Rankine." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1077.
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This thesis argues that Claudia Rankine's two American lyrics destabilize the subject-object dialectic underwriting American lyricism. First, I consider Don’t Let Me Be Lonely’s rejection of spectatorship, insofar as spectatorship objectifies the suffering of the Other. Second, I analyze Citizen’s subversion of the lyric “I”, particularly as it vocalizes the “you”-position traditionally relegated to poetic object. I suggest that both works, by returning power to the object, manifest an aesthetic disruption to the racially-based power dialectic underpinning American lyric tradition. Eventually, I propose that Rankine mobilizes the poem as a future-space for the realization of an ideal politics.
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Vuong, Thomas. "Usages du sonnet européen (Allemagne, France, Grande-Bretagne, Italie) durant la Seconde Guerre-Mondiale (1939-1945)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCD089.
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On dresse ici un panorama ample des usages de la forme poétique du sonnet durant la Seconde Guerre mondiale, en France, Allemagne, Grande-Bretagne et Italie. Ce parcours à travers la poésie de pays opposés militairement donne lieu à des analyses ciblées, qui visent à mettre en avant le fonctionnement d’une forme qui connaît une réelle floraison durant ce dürftiger Zeit de l’Europe. De nombreux poètes emploient en effet le sonnet pour donner un ordre à une expérience individuelle ou collective du désordre. On envisage la manière dont ces usages interrogent parfois profondément le rôle de la poésie, lorsqu’elle est abondamment sollicitée dans des sociétés en crise. La réduction à un discours militant, l’interférence idéologique ou religieuse d’une part, la remise en cause des présupposés culturels ou relatifs au lyrisme d’autre part, sont autant de tensions qui traversent le sonnet. On propose que le sonnet, forme ordonnée, est employée pour se positionner face au désordre du monde, soit en le rédimant, soit en l’acceptant. Les deux positions ne se traduisent pas systématiquement par un équivalent formel dans le poème même. Toutefois, les usages néoclassiques et rénovateurs du sonnet ont pour point commun d’interroger très profondément le rapport de la poésie au mondeThis study consists in a wide, comprehensive overview of the usages of the poetic form of the sonnet during the Second World War in France, Germany, Great Britain and Italy. Such a process aims at gathering close readings of sonnets, in order to highlight the mechanisms of a blooming form in the midst of a dürftiger Zeit. Many poets resort indeed to the sonnet in order to give a frame to a singular or collective experience of the chaos unleashed throughout Europe.The way these recourses to the sonnet interact with the role of poetry in a time of wide reception and collective crisis will be scrutinized in the light of political commitment, religious or ideological biases and the questioning of the former foundations of Western European culture, all of which can interfere in poetry’s proper motives.This work’s proposal is that the sonnet can be used as an ordered form, either to set a demiurgic stand in front of the chaotic situation of the continent, or so as to accept it. Neither poetic stances do necessarily lead to a disordering of the form itself ; however, both conservative and rejuvenating usages of the sonnet have in common the ability to deeply question poetry’s relation to the world
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Marks, Thomas. "The poetry of architecture : aspects of poetic form from Wordsworth to Thomas Hardy." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540159.
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Mikko, Evelina. "Bolts of Melody : The Poetic Meter and Form in Poetry of Emily Dickinson." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-36462.
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This essay analyses a selection of poems written by the American poet Emily Dickinson. The essay aims to explore the function of the meter in Emily Dickinson’s poetry. Earlier studies have combined Emily Dickinson’s poetry with meter, but the research of metrical pattern and form has not been sufficient enough to show Emily Dickinson’s full potential with the different meters. The purpose of this essay is to analyse how the metrical patterns are used by the poet as metrical strategies to impact the reader’s perception. One assumption is that structure and form are fundamental to her writing style. It justifies the reading of her poetry in relation to meter. The main focus was the physical structures of the poems, such as line length, metrical patterns, and systematic rhymes. The second most important aim was to analyse her other poetic devices, such as dashes and capitalizations. The findings were analysed together with the vocabulary and figurative language. The analysis shows Emily Dickinson’s poetic artistry in meter and rhyme and clarifies how she creates poetry with lyrical qualities. The result is important because it also shows that she can create poetry with metrical patterns, without in that sense being bound to meter.
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Fernandes, Geraldo Augusto. "O amor pela forma no Cancioneiro Geral de Garcia de Resende." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-15092011-130549/.
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Para se descobrir uma poética do Cancioneiro Geral de Garcia de Resende é necessário que se analise a Compilação não somente pelo seu conteúdo, mas principalmente pela sua forma, constituída de ritmo, de rima e de métrica, e, sobretudo, de estruturas estróficas e de recursos retóricos. Esta Tese propõe definir uma ars poetica implícita na Compilação levada a cabo por Garcia de Resende, que, de 1449 a 1516, reuniu poemas, registrando neles uma época denominada Pré-Renascimento. Através de seis grupos de formas a balada, o vilancete, a esparsa, a trova, a cantiga e os poemas de formas mistas, uma inovação do Compêndio e através do estudo dos artifícios retóricos empregados pelos poetas palacianos, é possível vislumbrar uma poética que não foi proposta por Resende em seu Prólogo, diferentemente do que ocorreu com os cancioneiros castelhanos da mesma época. No entanto, através dos paradigmas encontrados no que se pode denominar amor pela forma daqueles poetas, e através dos gêneros cultivados por eles, percebe-se, também, uma poética no Cancioneiro resendiano.In order to find out a poetics of Garcia de Resendes Cancioneiro Geral it is necessary to analyze the songbook not only through its content, but mainly through its form, constituted of rhythm, rhyme, metric and, above all, its stanza structure and rhetoric recourses. The purpose of this thesis is to define an implicit ars poetica of the compilation organized by Garcia de Resende, who collected poems from 1449 to 1516, registering in it an age called pre-Renaissance. Through six groups of forms ballads, vilancetes, esparsas, trovas, cantigas and poems of mixed forms, an innovation of the compendium and through the study of rhetoric artifices employed by the court poets, it is possible to catch a glimpse of a non proposed poetics by Resende in his Prologue, unlike what occurred with the Castilian cancioneros of the same epoch. However, through the paradigms found in what could be called love of the form by those poets, and through the genders they cultivated, it is possible to realize a poetics that characterizes Resendes songbook.
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Toshimitsu, Thaís Mitiko Taussig. "O rio, a cidade e o poeta: impasses e contradições na poesia de João Cabral de Melo Neto." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-27042010-115834/.
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A poesia de João Cabral de Melo Neto sofre por sua indefinição de lugar. Este trabalho, então, vai à busca da especificação do lugar social que ocupa o eu poético na obra do autor e, a partir disso, da definição de seu projeto estético, pautado pela aproximação das formas populares e, ao mesmo tempo, por seu oposto as mais sofisticadas formas de arte de seu tempo, constituídas pela racionalidade e não pela tradição. Trata-se de pensar as duas faces de sua poesia, durante tanto tempo compreendidas como duas vertentes incomunicáveis de sua poética, como definições que se articulam em dependência. O vértice comum teria origem na consciência do poeta acerca do subdesenvolvimento, como condição do país. É a partir disso que Cabral, primeiro, intenta a aproximação com a cultura popular, buscando nela a redução da distância entre as classes sociais no país. Para em seguida, incluir no poema as formas da modernização através das quais o país se transformava, tentando fazer do poema gesto de intervenção rigorosa sobre a matéria local. A racionalidade, por isso, será apresentada em sua poesia como nova alternativa ao subdesenvolvimento.The poetry of João Cabral de Melo Neto suffers from a lack of definition of place. Therefore, this study seeks to specify the social place occupied by the lyric self in the authors work and, from this, define his aesthetic plan, guided by the contrasting of popular forms and their opposite the most sophisticated art forms of his time, representing rationality instead of tradition. The two faces of his poetry, which for so long time were understood as two independent branches of his poetics, are seen as definitions that articulate dependently. The common vertex originates in the poets awareness of Brazils condition as an underdeveloped country. Cabral first attempts to incorporate popular culture, seeking to reduce the gap between the countrys social classes. Then he includes in the poem the forms of modernization through which the country was being transformed, trying to make the poem a gesture of rigorous intervention on the local material. Rationality, therefore, is presented in his poetry as a new alternative to underdevelopment.
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Segar, Emma. "Blog fiction : the relational poetics of a distributed narrative form." Thesis, Edge Hill University, 2015. http://repository.edgehill.ac.uk/7764/.
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This analysis explores blog fiction as a distributed narrative form, and the relational nature of the reading and writing processes that shape its poetics. It does this primarily through the analysis of Bad Influences1, the blog fiction that forms the creative part of this thesis. Bad Influences tells a disaster story distributed over four separate fictional blogs, exploring online identities, friendships, and how our relations to the world and our communities are shaped by the stories we tell about ourselves. Jill Walker Rettberg’s ideas on distributed narrative are used to investigate blog fiction’s distributions in time, space and authorship, and how these affect its narrative time, linearity, interactivity and poetics. The processes of writing and posting Bad Influences, and engaging with its readers, show how the use of the blog as a medium determines the characteristics of blog fiction as a form, and how the relations that emerge between readers, writers and the text produce, in Aukje van Rooden’s term, a relational poetics. This analysis concludes with an application of relational poetics to blog fiction and digital interactive fiction in general, touching upon emerging forms of fiction on social media platforms (e.g. Twitter fiction and interactive multiplayer narrative apps), in which relational processes are an essential component of the text, rather than simply a means to its access.
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Ward, Matthew. "The sound of laughter in Romantic poetry." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6814.
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This thesis offers the first critical examination of the sound of laughter in Romantic poetry. Part one locates laughter in the history of ideas of the seventeenth and eighteenth centuries, and explores the interplay between laughter and key intellectual, aesthetic, ethical, and social issues in the Romantic period. I chart a development in thinking about laughter from its primary association with ridicule and the passions up to the early decades of the eighteenth century, to its emerging symbiosis with politeness and aesthetic judgement, before a reassertion of laughter's signification of passion and naturalness by the end of the eighteenth century. Laughter provides an innovative means of mapping cultural markers, and I argue that it highlights shifts in standards and questions of taste. Informed by this analysis, part two offers a series of historically aware close readings of Romantic poetry that identify both an indebtedness to, and refutation of, earlier and contemporaneous ideas about laughter. Rather than having humour or comedy as its central concerns, this thesis identifies the pervasive and capricious influence of the sound of the laugh in the writing of Robert Burns, William Blake, William Wordsworth, Samuel Taylor Coleridge, Leigh Hunt, Lord Byron, Percy Shelley, and John Keats. I detect the heterogeneous representations of laughter in their work that runs across a diverse range of genres, poetic forms, themes, and contexts. As such, I argue against the serious versus the humorous binary which prevails in literary criticism of Romanticism, and suggest that laughter articulates the interplay between the elegiac and the comic, the sublime and the ridiculous, the solitary and the communal. Moreover, I detect a double-naturedness to the sound of laughter in Romantic poetry that registers the subject's capacity to signify both consensus and dispute. This inherent polarity creates a tension in the poems as laughter ironically challenges what it also affirms. Never singularly fixed, the sound of laughter reveals the protean nature of Romantic verse.
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Forni, Giorgio. "Forme brevi della poesia, tra umanesimo e Rinascimento /." Ospedaletto : Pacini, 2001. http://catalogue.bnf.fr/ark:/12148/cb391369428.
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Texte remanié de: Tesi di dottorato--Facoltà di lettere e filosofia--Università degli studi--Urbino, 2000. Titre de soutenance : Forme brevi della poesia del Quattro e del Cinquecento : epigramma e sonetto.Bibliogr. p. [245]-259.
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Machado, Admarcio Rodrigues. "Forma e indeterminação em As metamorfoses de Murilo Mendes." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-11122015-140007/.
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Este trabalho analisa o livro As Metamorfoses, do poeta Murilo Mendes. A perspectiva escolhida é a da invenção por meio da linguagem desse poeta. Reconhecendo que a imagem tem valor inestimável na poesia de Murilo, nossa análise elucida a construção imagética atentando para o modo como a organização das palavras figura o efeito de desorganização semântica que lembra alguns quadros surrealistas. Nesse sentido, a pergunta que norteia este trabalho é: Como o poeta usa a forma para a construção da indeterminação de sentido? Para respondê-la, recorremos, além de textos poéticos e não poéticos de Murilo Mendes, a textos sobre o Surrealismo, o Essencialismo de Ismael Nery e sobre forma e indeterminação semântica, que nos ajudaram a entender melhor o código poético de Murilo Mendes, inclusive entrevendo nesse código um padrão compositivo. Sendo a junção de imagens descontínuas no poema a principal característica do trabalho de montagem em Murilo Mendes, julgamos coerente supor que esse procedimento de composição exige uma performance idiossincrática do leitor. Na condição de obra moderna, a poesia muriliana exige um leitor também moderno. Para constituí-lo textualmente, estudamos também alguns pré-requisitos de leitura que devem ser acionados para a compreensão da proposta artística de Murilo Mendes, recorrendo sistematicamente a textos da estética da recepção.This dissertation analyzes the book As Metamorfoses, by the poet Murilo Mendes. The chosen perspective of analysis are his poetical procedures. Recognizing that images are central in Murilos poetry, our analysis elucidates his imagery construction, focusing on the ways the organization of words features the semantic disorganization effect which reminds Surrealistic paintings. In this sense, the question that guides this work is: How does the poet use the form to build the indeterminacy of meaning? In order to answer it, we use, besides Murilo Mendes poetic and non poetic texts, texts on Surrealism, the Essentialism of Ismael Nery and about form and semantic indeterminacy, that help us to understand Murilo Mendes poetic code, including glimpsing a compositional standard in such code. Since the main feature in Murilo Mendes work is the joining of discontinuous images in the poem, it seems coherent to assume that his composition model requires an idiosyncratic readers performance. Murilos poetry also requires a modern reader. With that in mind, we also studied some reading prerequisites that must be triggered for the understanding of Murilo Mendes artistic proposal, systematically resorting to aesthetics of receptions texts.
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Strong, Laura Katherine. "Contingency as form, the poetics of Marianne Moore and Elizabeth Bishop." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/MQ36623.pdf.
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Pondian, Juliana di Fiori. "A forma da palavra: poesia visual sânscrita, grega e latina." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-31102011-132738/.
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Em nossos dias, considera-se a articulação entre expressão e conteúdo no poema um dos traços mais importantes da criação poética. Desde a eclosão dos movimentos estéticos de vanguarda do século XX, que procuraram romper com os discursos tradicionais e as formas canônicas do verso, a tensão palavra/som/imagem tem sido um vetor construtivo por excelência da criação poética, sendo a poesia visual uma das formas de arte que mais difusão apresentou nas últimas décadas. A presente pesquisa procura demonstrar que, mais que um traço característico da criação poética moderna, a tensão entre expressão e conteúdo e o recurso à visualização constituem procedimentos estéticos presentes em diversas tradições literárias da Antiguidade, tanto no Ocidente quanto no Oriente. Assim, este trabalho busca recuperar esses textos originais a partir do estudo de um conjunto de aproximadamente trinta poemas, pertencentes às tradições literárias sânscrita (o citrakvya), grega (o technopaignion) e latina (o carmen figuratum). O estudo consistiu em, de um lado, traduzir os poemas para a língua portuguesa, acompanhados de comentários críticos, a fim de compor uma antologia de poesia visual. E, de outro, analisar, com base na linguística estrutural e na teoria semiótica francesa, os mecanismos próprios de configuração de sentido dos poemas, a partir de questões clássicas acerca desse tipo de prática poética como as oposições entre arbitrariedade vs. motivação; oralidade vs. escrita; e temporalidade vs. espacialidade. Finalmente, aplicando as bases teóricas discutidas ao corpus estudado, procuramos estabelecer uma tipologia segundo a qual os poemas possam ser classificados.At the present time, one of the most important traits of a poetic creation is the relationship between expression and content in the poem. Starting from the outbreak of the avant-garde aesthetic movements of the 20th century, which sought to break with the traditional discourses and with the canonical forms of verse, the word/sound/image tension has been a constructive vector par excellence of the poetic creation, and visual poetry has been one of the most widespread forms of art in recent decades. This research aims to show that, rather than being a trait of the modern poetic creation, the tension between content and expression and the use of visualization is part of the aesthetic procedures also present in the literary traditions of antiquity, both in the West and the East. This work seeks to recover these original texts from the study of a group of about thirty poems, belonging to the Sanskrit (citrakvya), Greek (technopaignion) and Latin (carmen figuratum) literary traditions. On the one hand, the goal of the study is the translation of the poems into Portuguese, accompanied by critical comments in order to compose an anthology of visual poetry, and on the other hand, based on structural linguistics and French semiotics to analyze the proper configuration of meaning mechanisms of poems from the classic questions about this type of poetic practice as the oppositions between arbitrary vs. motivation; orality vs. writing, and temporality vs. spatiality. Finally, applying the discussed theoretical basis to the studied corpus, we sought to establish a typology to which these poems could be classified.
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Smith, Aaron Mitchell. "Clothes for Clio? : form and history in the 1930s poetry of Robert Graves, Louis MacNeice and W. H. Auden." Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.677277.
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Pye, Stella. "Calliope come lately : the continuing relevance of poetic form from the Renaissance to present day." Thesis, University of Bolton, 2015. http://ubir.bolton.ac.uk/732/.
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Calliope was the muse of epic poetry, and this thesis could be described as an epic poem in the sense that the protagonists, my chosen poets, have their entrances and exits, along with my odyssey of creative development. The creative writing component is embedded within the prose, and the aims are symbiotic. The prose element seeks to determine whether there are similarities between the ways in which male and female writers utilize poetic forms in each chosen period from the Renaissance to the present day, (e.g. whether male poets are more or less assertive than women poets). The concept of ‘self-fashioning’ over-arches the thesis, with underlying issues of gender, class and race, and inherent connotations of ‘owned language’ and outsider status. Ekphrastic poetry is integral to the text. This chronologically constructed thesis begins by briefly exploring ways in which Italian Renaissance poet Gaspara Stampa subverted the sonnet form for self-promotional purposes. Chapter 1 considers how iconic male poets, Shakespeare, Wyatt and Donne, and lesser-known female poets Mary Wroth and Isabella Whitney, writing in sixteenth and seventeenth century England, used metaphorical comparisons as a means of self-fashioning. Eighteenth-century poetry by Anne Finch and Alexander Pope is then compared in terms of metaphorically antithetical Classicism (Chapter 2). ‘Factory poetry’ from Elizabeth Barrett Browning and Thomas Hood, and ‘art-versus-life’ poetry are nineteenth-century considerations (Chapter 3). The visual theme continues with Hilda Doolittle’s deviation from Ezra Pound’s Imagist ‘rules’, and moves organically towards ekphrastic poetry from Elizabeth Jennings and Philip Larkin (Chapters 4 and 5). Ekphrasis is the starting-point for a study of poetry from twentieth-century American female New Formalists, in which issues of class, race and, particularly ‘owned language’ are addressed. Class and ‘owned language’ is crucial to the final chapter, surrounding contending voices in sonnets by Tony Harrison and the present poet (Chapters 6 and 7). The present poet’s own self-fashioning in her creative odyssey is inextricable from the text.
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Watanabe, Edna Atsué [UNESP]. "Vozes das formas na poesia concreta do Grupo Noigandres." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/86950.
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watanabe_ea_me_ia.pdf: 1243170 bytes, checksum: 553009b04f3280872854e4c9c1d4ef8a (MD5)Universidade Estadual Paulista (UNESP)
A proposta desta dissertação foi estudar as bases teóricas e os princípios formais apresentados no “Plano-piloto para a Poesia Concreta”, 1958, que foi publicado em Noigandres 4 pelos poetas Augusto de Campos, Haroldo de Campos e Décio Pignatari, os quais conceberam a poesia como “uma arte geral da palavra” e “o espaço gráfico como elemento constitutivo estrutural do poema”. A partir dos conceitos da semiótica desenvolvida por Charles Sanders Peirce, pretendeu-se compreender a forma como uma estrutura em movimento ou isomorfismo estrutural, que foi desenvolvido pelo grupo Noigandres na sua fase ortodoxa, entre 1955 a 1959, quando predominaram a forma geométrica e a matemática da composição. Finalmente, foram analisados cinco poemas representativos da Poesia Concreta Paulista elaborados entre 1955 a 1959.
The proposal of this dissertation was to study the theoretical basis and formal principles set forth in the “Pilot-Plan for Concrete Poetry”, 1958, published in Noigandres 4 by the concrete poets Augusto de Campos, Haroldo de Campos e Décio Pignatari, who used to conceptualize poetry as the “general art of the word” within which “the graphic space acts as structural agent of poem”. On the basis of Charles Sanders Peirce´s semiotics, we have hereby undertook to understand the concept of form as structural movement or structural isomorphism that has been worked out by the group Noigandres in their orthodox phase, between 1955 and 1959, when the geometric form and the mathematics of composition used to prevail in their poetry. Accordingly we have analyzed five representative poems by Concrete Poets from São Paulo, that were written by then.
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Watanabe, Edna Atsué. "Vozes das formas na poesia concreta do Grupo Noigandres /." São Paulo : [s.n.], 2009. http://hdl.handle.net/11449/86950.
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Orientador: Omar KhouriResumo: A proposta desta dissertação foi estudar as bases teóricas e os princípios formais apresentados no "Plano-piloto para a Poesia Concreta", 1958, que foi publicado em Noigandres 4 pelos poetas Augusto de Campos, Haroldo de Campos e Décio Pignatari, os quais conceberam a poesia como "uma arte geral da palavra" e "o espaço gráfico como elemento constitutivo estrutural do poema". A partir dos conceitos da semiótica desenvolvida por Charles Sanders Peirce, pretendeu-se compreender a forma como uma estrutura em movimento ou isomorfismo estrutural, que foi desenvolvido pelo grupo Noigandres na sua fase ortodoxa, entre 1955 a 1959, quando predominaram a forma geométrica e a matemática da composição. Finalmente, foram analisados cinco poemas representativos da Poesia Concreta Paulista elaborados entre 1955 a 1959.
Abstract: The proposal of this dissertation was to study the theoretical basis and formal principles set forth in the "Pilot-Plan for Concrete Poetry", 1958, published in Noigandres 4 by the concrete poets Augusto de Campos, Haroldo de Campos e Décio Pignatari, who used to conceptualize poetry as the "general art of the word" within which "the graphic space acts as structural agent of poem". On the basis of Charles Sanders Peirce's semiotics, we have hereby undertook to understand the concept of form as structural movement or structural isomorphism that has been worked out by the group Noigandres in their orthodox phase, between 1955 and 1959, when the geometric form and the mathematics of composition used to prevail in their poetry. Accordingly we have analyzed five representative poems by Concrete Poets from São Paulo, that were written by then.
Mestre
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Vanelli, Lorenzo <1988>. "Holler afroamericani: forme poetiche, tecniche musicali e gradi d'opacità." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amsdottorato.unibo.it/9021/1/Lorenzo%20Vanelli%20-%20Tesi%20versione%20finale.pdf.
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Gli holler sono stati un genere musicale usato esclusivamente da afroamericani principalmente nel sud degli Stati Uniti fino agli anni ’60 per esporre brevi componimenti poetici in un canto a voce sola.
La produzione accademica in ambito musicologico ha guardato finora agli holler come a un disarmonico insieme di tecniche, definite in modo vago e rilevanti solo nella misura in cui potevano fungere da esemplificativo anello di congiunzione tra l’Africa e il blues. Ricorrendo a metodi di ricerca tratti dai campi dell’etnomusicologia, ma anche della storiografia, della critical race theory e degli studi di genere e postcoloniali, la presente tesi intende invece offrire prima di tutto una prospettiva ampia e dettagliata sul genere degli holler considerato in sé: nella discussione delle strutture poetiche, nell’analisi delle tecniche musicali, nella disamina delle relazioni tra piano poetico e musicale, il tutto nell’analisi accurata delle fonti documentarie originali e nel rispetto dei limiti d’interpretazione imposti dai diversi gradi di opacità opposti dagli interpreti alla comprensione della loro espressione. Solo a seguito di queste considerazioni di carattere generale sugli holler come forma espressiva distinta vengono offerte considerazioni e confronti rispetto alle derivazioni da specifiche tradizioni musicali africane o legami alla tradizione del blues attraverso la produzione musicale di musicisti professionisti.
I documenti audio presentati, per la maggior parte inediti, sono analizzati come espressioni musicali di fondamentale rilevanza teorica e storica nello sviluppo delle musiche afroamericane e come esempi di tecniche d’espressione orale in contesti di marcata disuguaglianza sociale. I documenti sono inoltre presi in considerazione come tassello in una storia più ampia: una fonte di documentazione orale da valutare con accortezza nelle sue complessità e sulla quale è possibile creare spazi di discussione sul tema contemporaneo dell’incarcerazione di massa e sulla dimensione storica e strutturale dell’oppressione delle minoranze negli Stati Uniti.Hollers were a genre of solo singing songs used exclusively by African Americans and mainly in the South of the United States until the ’60 to express brief poetic compositions. Authors have discussed hollers only as a disharmonic group of vaguely defined vocal techniques and considered them only when they deemed them a relevant example of connections between Africa and the Blues. By recurring to research methods from the fields of Ethnomusicology, History, Critical Race Theory, Gender Studies and Postcolonial Studies, in this thesis I offer a detailed perspective on the hollers genre per se: I discuss the poetic structures, the music techniques, the relations between the poetic and musical planes. I do this by considering the available documentation as well as by recognizing and respecting the limitations posed to our comprehension by the different layers of opacity set up by the hollers authors. Only after this discussion, I offer some hypotheses about the genre relations to specific African musical traditions and about the connections with the history of the Blues by looking at the musical productions of some professional musicians. I discuss the audio documents theoretical and historical relevance in the development of African American music, as well as examples of expressive techniques inside contexts of severe social inequality. I also discuss hollers documents (within the boundaries posed by their opacity) as valuable oral sources about the historical dimension of the forms of oppression of minorities in the United States through the development of the system of mass incarceration.
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Giannuzzi, Alessandra. "Il giuramento nella poesia arcaica: contesti, forme, riti, lessico." Doctoral thesis, Urbino, 2015. http://hdl.handle.net/11576/2674293.
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Reinato, Pedro Martins. "A própria forma do bárbaro domínio: elementos da composição poética em \'O Guesa\', de Sousândrade." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-30072008-093222/.
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O presente trabalho busca analisar alguns elementos estéticos presentes na criação da obra O Guesa, do poeta maranhense Joaquim de Sousa Andrade, mais conhecido como Sousândrade. Procura-se demonstrar que a forma de sua poesia não consiste apenas em um capricho da subjetividade romântica, carente de programa estético definido. A partir da liberdade das formas conquistada no romantismo, o poeta demonstra lucidez em sua criação poética, utilizando a \"reflexão\", a \"imaginação\" e a \"fragmentação\" para criar uma forma de objetivação homóloga à natureza selvagem da lenda do muísca do Guesa. Além disso, tal forma poética estabelece-se como meio de expressão de seus conflitos internos e da sua visão acerca dos conflitos sociais de sua época.This paper seeks examine some of the aesthetic elements present in the creation of O Guesa, of maranhense poet Joaquim de Sousa Andrade, better known as Sousândrade. Looking up show that the form of his poetry not just in a romantic whim of subjectivity, lacking in aesthetic programme defined. From the freedom of forms conquered in romanticism, the poet demonstrates clarity in his poetic creation, using the \"reflection\", the \"imagination\" and the \"fragmentation\" to create a form of objetivation counterpart to the wild nature of the muísca legend of Guesa. Moreover, such a poetic establishes itself as a means of expression of their internal conflicts and their vision about the social conflicts of his time.
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Rivers, Patricia Ann. "The narrative poetics of William Faulkner, an analysis of form and meaning." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29567.pdf.
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Rivers, Patricia Ann. "The narrative poetics of William Faulkner : an analysis of form and meaning." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26757.
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Most critical acclaim of William Faulkner has focused on his innovations of narrative technique, and while critics have frequently noted the correlation between form and meaning in his novels, the central focus of these novels--race--has largely been ignored in the criticism. The purpose of this paper is to examine Faulkner's narrative methodology and arrangement of material in order to demonstrate that the structures of his novels, particularly Light in August and Absalom, Absalom!, consistently enhance and dramatize the major subject and themes of the novels. Under careful scrutiny, these structures reveal an effective and dramatic parallel between Faulkner's rhetorical methodology and the complexity of his subject matter--the South, and the issue of race.
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LAGOA, MARIA BEATRIZ DA ROCHA. "TRANSITIVE FORM: POETICS IN THE WORKS OF PAUL KLEE AND MIRA SCHENDEL." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7671@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOROs artistas Paul Klee (Berna, Suíça, 1879-1940) e Mira Schendel (Zurique, Suíça, 1919-1988) investigam os processos da forma, conjugando materiais e técnicas que tecem as suas próprias relações. A aproximação entre os dois artistas é possível, a partir da compreensão da Modernidade e das correspondências com outras culturas e demais gêneros de expressão artística. Em diferentes contextos, é o aspecto crítico que prevalece nessas obras, privilegiando a experimentação. Em comum, o traço, não mediado pela referência à natureza, atua como instrumento de busca de uma forma mais livre, que se desdobra no espaço e no tempo, exigindo a participação do espectador.
The artists Paul Klee (Berna, Switzerland, 1879-1940) and Mira Schendel (Zurich, Switzerland, 1919-1988) investigate the processes of form, conjugating materials and techniques that weave their own relations. The approximation of these two artists becomes possible through the understanding of Modernity and its correspondences with the other cultures and means of artistic expression. In different contexts, it is the critical aspect that prevails in these works, which privilege experimentation. In common, they have the line, non mediated by references to nature, which acts as an instrument in the search for a freer form, unfolding through space and time, and demanding the participation of the viewer.
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Teusch, Jacqueline Aquino. ""Making Ourselves Over in the Image of the Imagery": Overcoming Alienation Through Poetic Expressions of Experience." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4131.
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My focus for this essay is on understanding the rhetorical process that occurs when people come together despite their differences—that is what rhetoric is all about. Kenneth Burke argues that this process, for alienated people especially, happens poetically, more than semantically because there are too many differences to overcome semantically between alienated people and the dominant community. This essay is about how the rhetorical process of identification as described by Burke helps us to explain how we cross barriers that divide people who are different to create moments of mutual understanding—identification. In this essay, I look at the experience of reading Gloria Anzaldúa's work from the rhetorical perspective that Burke's theory of rhetorical identification provides. In the case of Borderlands, Anzaldúa helps us understand how an alienated person can prompt a momentary, present space of shared experience through poetic language.
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Echinard-Garin, Paul. "Le poème critique, depuis Mallarmé : formes et enjeux." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030149.
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Cette thèse tient le pari de retracer la persistance dans l’Histoire de la poésie française d’une notion forgée par Stéphane Mallarmé : dans la "Bibliographie" des Divagations, l’écrivain affirme publiquement avoir recueilli ses "poèmes critiques". Après avoir exploré quelles formes nouvelles ce terme recouvre, quelles "transpositions mentales" du poète ces textes déploient, le travail s’affronte immédiatement à la difficulté d’utiliser le même concept pour désigner toute écriture critique inspirée, ce qu’on lit chez Leger félicitant Jacques Rivière. L’influence de ce dernier sur la critique professionnelle enjoint de réserver alors le poème critique aux poètes : l’examen des inventions d’Aragon, Ponge et Du Bouchet permet de poser les questions de la valeur de ces textes marginaux, de leur reprise possible, et de la voix du poète dans le champ théorique. Ensuite, un troisième moment a pour ambition de penser conjointement des procédures qui affrontent la définition impossible du poème, pour préférer lui tourner autour, le déborder, le doubler, le réduire. On observe la génération qui gravite autour de Claude Royet-Journoud pour élaborer une poétique de ce genre indéterminé, inséparable d’une réflexion sur la relation : ce méridien tient compte de la "matière de l’interlocuteur". Dans un dernier temps, la thèse propose la lecture d’un poète contemporain, Philippe Beck. Il déduit des œuvres, en particulier de Mallarmé, de quoi continuer l’inscription de l’Histoire de la poésie dans un "poème critique neuf"This thesis takes up the challenge of recording the recurrent occurrences in the History of French Poetry of an expression, coined by Stéphane Mallarmé : in the "Bibliography", which he adds to his Divagations, he publicly asserts that he has collected his "critical poems". After having explored the new shapes this word encompasses, and the "mental transpositions" those texts result in, the development tackles right away the issue of using the same expression in order to designate any inspired critical review, which can be found in a letter from Alexis Leger congratulating Jacques Rivière. His influence on professional literary Criticism seems to suggest the critical poem should be left only to poets: analyzing Aragon’s, Ponge’s and Du Bouchet’s inventions, one can lead an inquiry into the value of these marginal texts, their rewriting and the presence of the poet’s voice in the theoretical field. Then, the ambition of a third part is to think together texts that confront the impossible definition of the poem, and finally choose periphrasis, extension, duplication or digestion. One examines the generation revolving around Claude Royet- Journoud so as to work out a poetics of this undetermined genre, which must comprise a reflexion on the relation : this meridian takes into account the "matter of the interlocutor". At last, the thesis focuses on a contemporary poet, Philippe Beck. He gives reinterpretations of literary works, especially Mallarmé’s ones, in order to carry on writing the History of Poetry in a "brand new critical poem"