To see the other types of publications on this topic, follow the link: Poetic tradition.
Dissertations / Theses on the topic 'Poetic tradition'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Poetic tradition.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Fearn, David. "Bacchylides : politics and poetic tradition." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273160.
Full text
2
Montague, Tara Bookataub. "Narrating battle in the early medieval Germanic poetic tradition /." view abstract or download file of text, 2006. http://wwwlib.umi.com/cr/uoregon/fullcit?p3211224.
Full textAbstract:
Thesis (Ph. D.)--University of Oregon, 2006.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 294-314). Also available for download via the World Wide Web; free to University of Oregon users.
3
Reis, Huriye. "Icons of art : the poetic tradition and representations of women in Chaucer's dream poetry." Thesis, University of Liverpool, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262395.
Full text
4
Oldert, David. "Ideas of poetic form: aspects of the Romantic-Symbolist tradition." Thesis, Rhodes University, 2016. http://hdl.handle.net/10962/54554.
Full textAbstract:
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.
5
Herbst, Elke Maria. "The Possible House." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500990/.
Full textAbstract:
The thesis begins with an introductory chapter that explains the creative process, providing quotes from well-known poets and examples from my own personal history and ideas. Some of the creative concepts discussed are different manifestations of inspiration, such as the duende and the Muses. However, the act of creating a work of art--what actually occurs when an artist works--remains undiscovered. Every poet is part of the poetic tradition, yet she also strives to supersede that very tradition. In my poetry, I try to build on and deviate from the poetic tradition, while simultaneously representing events from my cultural and personal history. Twenty-nine poems follow the introduction. The poems included in this volume represent a contemporary writing style influenced by Romanticism and Modernism, apparent in nature imagery and ambiguity.
6
Campos, Alexandre Silveira. "Análise sobre nada : um estudo dos procedimentos poéticos da obra de Manoel de Barros /." Araraquara : [s.n.], 2007. http://hdl.handle.net/11449/91591.
Full textAbstract:
Orientador: João Batista Toledo PradoBanca: Maria de Lourdes Ortiz Gandini Baldan
Banca: Igor Rossoni
Resumo: Este trabalho realiza um estudo de alguns expedientes poéticos na obra de Manoel de Barros, de modo a que se possa localizar, da forma mais nítida possível, a ocorrência de determinada temática recorrente e de determinados modos de composição. A partir daí, demonstrar-se-á o papel da construção imagética na obra de Manoel de Barros, e quais caminhos o autor trilha a fim de desenvolver tais procedimentos. Neste trabalho, serão postos em evidência ao menos dois pontos fundamentais: a) A maneira como Manoel de Barros integra em sua obra determinadas influências e as recicla, transformando-as em parte de seu texto. São elas: A poesia simbolista francesa; A produção imagética moderna espanhola e latino-americana; O modernismo brasileiro; Para essa parte, o corpus foi selecionado nas obras Compêndio Para Uso dos Pássaros (1960) e Arranjos Para Assobio (1980); b) O tratamento dado à construção da imagem poética, procurando escrutinar não só o modo como ela se manifesta no próprio fazer poético, mas também como ela reincide nos textos, tornando-se uma temática insistente relacionada ao modo de construção do poema. Para o desenvolvimento dessa parte, o corpus foi selecionado, como não podia deixar de ser, na obra Ensaios Fotográficos (2000).
Abstract: This work realize a search of some poetics proceedings in the production of Manoel de Barros, for to be possible to localize , of unequivocal way, the occurrence of some repeated themes and some composition ways. Therefore, it'll be demonstrated the function of the image building in the production of Manoel de Barros, and what ways the writer gone through to develop this proceedings. In this work, it'll be put in evidence two fundamental points: a) The way how Manoel de Barros puts in his production determined influences and makes them new , transforming them part of his text. They are: The French symbolist poetry; The Spanish and Latin modern imagetic production. The Brazilian modernism; To this part, the corpus has been selected in the books Compêndio Para Uso dos Pássaros (1960) and Arranjos Para Assobio (1980); b) The tratment gived to the construction of the imagetic poetry, searching to know not the only the way how it manifest itself on the poetic made, but how it relapse in the texts, transforming it in a insistent thematic that it has relationship whit the construction way of the poem. To the developed of this part, the corpus has been selected, because not have been another away , in the book Ensaios Fotográficos (2000).
Mestre
7
Hussein, Amal Ragaa Bassyouni. "Transatlantic Romanticism : the English Romantics and American nineteenth−century poetic tradition." Thesis, Durham University, 2011. http://etheses.dur.ac.uk/3197/.
Full textAbstract:
This thesis explores the Romantic origins of nineteenth-century American poetic tradition; it looks at the relationship between the English Romantics and major nineteenth-century American poets. My research focuses on the Romantic lines of continuity within nineteenth-century American poetry, identifying them as central to the representation of American cultural and literary identities. American poets shaped their art and national identity out of a Romantic interest in their native nature. My study particularly explores the diverse ways in which major American poets, of this time, reacted to, adapted and reformulated Romantic ideals of nature, literary creation, the mission of the poet and the aesthetic category of the sublime. It traces connections and dialogues between American poets and their Romantic predecessors, including Blake, Southey, Wordsworth, Coleridge, Keats and Shelley. This thesis is inspired by the strong and abiding academic interest in Romantic studies, and aims to advance new readings of nineteenth-century American poetry in a transatlantic literary and cultural context. It attempts to cover a wide range of nineteenth-century key poetic works in relation to Romantic visions, ideals and forms. Developing a chronological line of enquiry, my thesis highlights the paradox of writers seeking to establish an original, distinctive American literary canon while still heavily deriving ideas and techniques from other, non-American sources. An introductory chapter outlines the historical and cultural framework of the Anglo-American literary relationship, focussing on its sensibilities, tensions and affinities. Chapter two considers how Bryant and Longfellow reformulated the Romantic pastoral tradition in their representations of American landscape, which helped toward shaping a peculiar national poetic canon. Through examining Emerson’s poetic achievement in the light of the Romantic tradition, chapter three challenges Emersonian claims of originality and self-reliance. Chapter four addresses Whitman’s Romantic preoccupations and interests alongside his groundbreaking innovations manifested in his attitudes towards nature, human body and urban landscape as well as his experiments with poetic language and form. Chapter five attempts to interpret the seeming idiosyncrasy of Dickinson’s work in the light of the poet’s dialogues with her Romantic precursors. Above all, this study examines how Romanticism worked upon the minds and art of nineteenth-century American poets, aiming to provide refreshing interpretations of nineteenth-century American poetry in the context of the broader transatlantic Romantic tradition.
8
Irwin, E. "Epic situation and the politics of exhortation : political uses of poetic tradition in archaic Greek poetry." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604960.
Full textAbstract:
The thesis begins by exploring a central problem: while the genre of elegiac exhortation poetry both invites and itself exploits analogies between, on the one hand, the immediate audience and performance setting of the poem and, on the other, the broader civic identities of that audience and larger civic context to which they belong. And yet, the circumscribed social setting for which it was produced, the private aristocratic symposion, complicates the interpretation of seemingly all-embracing political terms such as city, fatherland, country. The thesis challenges the prevailing orthodoxy with the questions, who constitute the city, what expressions of attachment to it mean, and how such expressions function within their poetic and larger social context. By asking what it means for symposiasts to recite in the first person exhortations evocative of those spoken by the heroes of epic, the thesis reveals the elitist claims and pretensions implicit in this heroic role-playing, pretensions which are themselves deeply political. The thesis culminates in an examination of the explicitly political poetry and career of Solon, providing a much-needed study of this figure whose dual career as poet and lawgiver epitomises the stakes involved in the appropriation of poetic traditions in this period. A close reading of Solon 4 demonstrates how the poem carefully situates itself in an adversarial relationship to the martial poetic traditions of epic and elegiac exhortation, while positively embracing the themes of Hesiod and Odyssean epic. The indications of a political stance inherent in these poetic 'situations' provides the basis for a more wide-ranging discussion of the relationship of Solon's poetry to his political career. It concludes by re-evaluating the relationship of Solon to tyranny, and, finally, by offering an interpretation of the importance of Homeric poetry in the political agenda of the Athenian tyrants who followed him.
9
Bertram, Vicki. "Muscling in : a study of contemporary women poets and English poetic tradition." Thesis, University of York, 1992. http://etheses.whiterose.ac.uk/2490/.
Full text
10
Santos, Marcel de Lima. "Jim Morrison: the articulation of the Shaman- Poet in the poetic tradition." Universidade Federal de Minas Gerais, 1996. http://hdl.handle.net/1843/BUBD-9D9HD2.
Full textAbstract:
This dissertation aims at the articulation ofthe shaman-poet in the poetic tradition. It presents American poet Jim Morrison as the shaman artist whose life and poetry are analyzed as belonging to the tradition ofpoets Plato called possessed byfuror poeiicus. This tradition, which is to find its prime in the writings ofthe Romantic poets, states that poetry is a secret language, based on feeling and imagination, that speaks to the heart of men about the sacred and universal, i. e., natural, quality of the human soul. The shaman-poet, thus, belongs to a tradition that goes back thousands ofyears to a time when the primitive man used to be in touch with a magical understanding ofhis environment on a regular basis, in contrast to the extremely rational perception ofthe world by modem man. The poetry ofJim Morrison is presented here as a representative ofthis sacred language that tells of this magical perception, long-forgotten, though never completely erased fi"om the human mind. Hence, it is to be seen not only as a bridge to the spiritual realm offeeling and imagination, but also as a technique for ecological survival in this current rational and secular era.Esta dissertação objetiva a articulação do poeta-xamã na tradição poética. Ela apresenta o poeta americano Jim Morrison como o artista xamã cuja vida e poesia são analisadas como pertencentes à tradição de poetas, considerados, por Platão, possuidos pelofurorpoeticus. Essa tradição, que encontra seu ápice nos escritos dos poetas românticos, afirma ser a poesia uma linguagem secreta, baseada no sentimento e na imaginação, que fala ao coração dos homens sobre a qualidade sagrada e universal, i. e., natural, da alma humana. O poeta-xamã, portanto, pertence a uma tradição de milhares de anos, quando do tempo em que o homem primitivo percebia seu habitat de uma forma mágica, em contraste com a percepção extremamente racional do mundo, pelo atual, e no entanto igual, ser humano. A poesia de Jim Morrison é apresentada aqui como representante dessa linguagem sagrada, que fala da esquecida, embora não totalmente apagada da mente humana, percepção mágica. Assim sendo, ela deve ser vista não somente como uma ponte para o reino espiritual do sentimento e da imaginação, mas também como uma técnica de sobrevivência ecológica nesta era tão racional e dessacralizada.
11
Campos, Alexandre Silveira [UNESP]. "Análise sobre nada: um estudo dos procedimentos poéticos da obra de Manoel de Barros." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/91591.
Full textAbstract:
Made available in DSpace on 2014-06-11T19:25:24Z (GMT). No. of bitstreams: 0
Previous issue date: 2007-02-28Bitstream added on 2014-06-13T20:27:35Z : No. of bitstreams: 1
campos_as_me_arafcl.pdf: 686977 bytes, checksum: 64799659d1569cad2661a5d0e939fac2 (MD5)Secretaria de Educação
Este trabalho realiza um estudo de alguns expedientes poéticos na obra de Manoel de Barros, de modo a que se possa localizar, da forma mais nítida possível, a ocorrência de determinada temática recorrente e de determinados modos de composição. A partir daí, demonstrar-se-á o papel da construção imagética na obra de Manoel de Barros, e quais caminhos o autor trilha a fim de desenvolver tais procedimentos. Neste trabalho, serão postos em evidência ao menos dois pontos fundamentais: a) A maneira como Manoel de Barros integra em sua obra determinadas influências e as recicla, transformando-as em parte de seu texto. São elas: A poesia simbolista francesa; A produção imagética moderna espanhola e latino-americana; O modernismo brasileiro; Para essa parte, o corpus foi selecionado nas obras Compêndio Para Uso dos Pássaros (1960) e Arranjos Para Assobio (1980); b) O tratamento dado à construção da imagem poética, procurando escrutinar não só o modo como ela se manifesta no próprio fazer poético, mas também como ela reincide nos textos, tornando-se uma temática insistente relacionada ao modo de construção do poema. Para o desenvolvimento dessa parte, o corpus foi selecionado, como não podia deixar de ser, na obra Ensaios Fotográficos (2000).
This work realize a search of some poetics proceedings in the production of Manoel de Barros, for to be possible to localize , of unequivocal way, the occurrence of some repeated themes and some composition ways. Therefore, it'll be demonstrated the function of the image building in the production of Manoel de Barros, and what ways the writer gone through to develop this proceedings. In this work, it'll be put in evidence two fundamental points: a) The way how Manoel de Barros puts in his production determined influences and makes them new , transforming them part of his text. They are: The French symbolist poetry; The Spanish and Latin modern imagetic production. The Brazilian modernism; To this part, the corpus has been selected in the books Compêndio Para Uso dos Pássaros (1960) and Arranjos Para Assobio (1980); b) The tratment gived to the construction of the imagetic poetry, searching to know not the only the way how it manifest itself on the poetic made, but how it relapse in the texts, transforming it in a insistent thematic that it has relationship whit the construction way of the poem. To the developed of this part, the corpus has been selected, because not have been another away , in the book Ensaios Fotográficos (2000).
12
Evershed, Elizabeth. "Sons and brothers : literary community in the English poetic tradition, c.1377-1547." Thesis, Durham University, 2007. http://etheses.dur.ac.uk/1353/.
Full textAbstract:
This study examines the importance of literary communities in the works of a number of key English poets: Geoffrey Chaucer (c. 1340-1400), Thomas Hoccleve (c. 13671426), John Lydgate (c. 1370-1449), John Skelton (c. 1460-1529), Sir Thomas Wyatt (1503-1542) and Henry Howard, Earl of Surrey (1517-1547). It focuses on 'horizontal' peer-based literary communities and the support and literary friendships that such groups might provide, rather than 'vertical' patronage networks, and discusses ways in which these poets envisaged themselves as part of a community or communities of writers and/or literati, both actual and ideal, and what this contributed to their imagined identity as writers and the kind of poetry they produced. The Introduction analyses some of the critical terms and frameworks from within which a discussion of literary communities may take place. Chapter One provides a survey of some of the forms, functions and practices of literary communities in Europe from antiquity to the early modern period. The remaining chapters examine English literary communities chronologically, focussing on the above poets as individuals and their identification of particular receptive audiences for their work from within their own social milieu. Chapter Two discusses the extent to which the group of men Paul Strohm identifies as Chaucer's circle may be viewed as a literary community, and the difference such communal contexts make to our reading of Chaucer's poetry. Chapter Three looks at Hoccleve and Lydgate as Chaucer's immediate successors in the fifteenth century. It concludes that a significant proportion of Hoccleve' s poetic output is shaped by his place within the community of the Privy Seal Office and that this community offered him opportunities to write on its behalf. It also considers Lydgate's interaction with a wide range of receptive communities, and examines his success in inspiring idealised authorial communities (Chaucerian and Parnassian) as a governing ideal for his readers, and the authors who followed him. Chapter Four focuses on Skelton's negotiation between different literary communities (academic, courtly and urban) and re-examines his agonistic and antagonistic attitudes to contemporary writers, focussing particularly on The Garlande ofLaurel!. Chapter Five offers a brief analysis of Wyatt and Surrey and the 'new' company of gentlemen poets they represented by way of conclusion, looking particularly at Wyatt's epistolary satires to friends. Although England may not have developed formal literary societies equivalent to those on the continent in the late medieval to early renaissance periods, in the case of each of the poets examined in this study the informal literary communities they did associate with, both actual and imagined, were influential in shaping their poetry and offering them encouragement to write.
13
Simkin, Stephen John. "Gerard Manley Hopkins : critical perceptions of his relation to poetic tradition to 1970." Thesis, University of St Andrews, 1992. http://hdl.handle.net/10023/15092.
Full textAbstract:
The aim of this thesis has been to make an accurate assessment of the developments in Hopkins criticism up until 1970, with overriding emphasis on perceptions of his relation to poetic tradition. The chosen methodology involves a chapter by chapter discussion of Hopkins' perceived relation to individual poets or groups of poets. Generally, each chapter opens with an examination of Hopkins' published correspondence, scrutinizing his own criticism of the poet or poets in question, and proceeds in a chronological survey of the ways in which critics and reviewers have related him to the predecessor in question. Material covered in the thesis includes major published works on Hopkins; articles and reviews in scholarly periodicals, as well as more popular journals and some newspapers; and other critical works where Hopkins receives some degree of attention. The 'cutoff' point of this study is 1970, although a final chapter has been appended with a less detailed survey of the developments from 1970 to the present day. On certain occasions, I have ventured to investigate more fully some areas of Hopkins' literary genetics that seem not to have received the attention they deserve. In general, however, the focus of the thesis is upon the perceptions of the critics, and attempts are made to assess the ways in which Hopkins' fluctuating critical standing has altered these perceptions and vice versa. One of the most frequently recurring demands has been the need to try and determine why Hopkins has been related to different poets and different poetic traditions at different times. To provide a more 'three-dimensional' perspective, two chapters are devoted to exploring the ways in which Hopkins has been perceived as an influence on twentieth century poetry, in general terms, and in specific cases. In conclusion, a 'map' of the territory of Hopkins' criticism charting the perceived relations between his oeuvre and poetic tradition is proposed. And, with a necessary emphasis on the provisional (particularly with the post-1970 study taken into account), some suggestions are made for new directions in this area of study.
14
Silveira, Juliana Fabrícia da. "Ecos medievalizantes na poesia de Manuel Bandeira : um exercício de aprendizagem poética /." São José do Rio Preto : [s.n.], 2009. http://hdl.handle.net/11449/94139.
Full textAbstract:
Orientador: Marcos Antonio SiscarBanca: Susanna Busato
Banca: Wilton José Marques
Resumo: Esse trabalho analisa a presença de ecos medievalizantes na poesia de Manuel Bandeira como exercício de aprendizagem poética. Para isso, selecionamos alguns poemas de Bandeira que possuem uma vinculação mais explícita com a lírica medieval, seja pela temática, seja pela forma, embora esses ecos perpassem por toda sua produção poética. A influência decisiva da poesia medieval portuguesa é apontada pelo próprio poeta em suas cartas, crônicas e na autobiografia intelectual Itinerário de Pasárgada e se manifestam de modo exemplar nos poemas analisados neste trabalho ("Cantiga de amor", de Mafuá do Malungo; "Canção das muitas Marias", de Opus 10; "Cantar de amor" e "Cossante", de Lira dos Cinquent'anos; "Solau do desamado", de Cinza das horas; e "Rimancete" e "Baladilha arcaica", de Carnaval). Cada um deles empreende uma relação diferente com o medieval, ora pela negação dos arquétipos da poesia antiga, ora pelo tom de homenagem. Enfatizando o modo como se realiza essa recuperação da poesia medieval, o trabalho dá destaque ao fato de que a poesia de Bandeira modula e problematiza os pressupostos de liberação do passado e do lusitanismo característicos do Modernismo de 1922. Esse gesto não se baseia em um espírito de continuidade, mas funciona como experimentação que permite a Bandeira se especializar e se singularizar dentro de um campo que destaca o caráter rítmico e profano da poesia.
Abstract: The aim of this work is to analyze the presence of medieval echoes in Manuel Bandeira‟s poetry as an exercise of poetic learning. To this end, some of Bandeira‟s poems which a more explicit connection with medieval lyrics either thematic or formal were selected, although these echoes can be identified throughout his poetic works. The crucial influence of Portuguese medieval poetry is pointed out by the poet himself in his personal letters, chronicles and intellectual autobiography named Itinerário de Pasárgada, and in an exemplary way in "Cantiga de amor"(Mafuá do Malungo); "Canção das muitas Marias" (Opus 10); "Cantar de amor" and "Cossante" (Lira dos Cinquent'anos); "Solau do desamado" (Cinza das horas); "Rimancete" and "Baladilha arcaica" (Carnaval), poems analyzed in this work. Each poem undertakes a different relationship with the medieval element, either by the denial of traditional poetry archetypes or by showing signs of respect. When emphasizing how this return of medieval poetry is realized, this work highlights the fact that Bandeira‟s poetry modulates and problematizes the presuppositions of rupture from (Luso-medieval) tradition, characteristics of Brazilian Modernism in 1922. The poet‟s attitude is not based on a spirit of continuity. It works as an experiment that allows Bandeira to have a specific and singular style within a field which emphasizes the rhythm and profanity of poetry.
Mestre
15
Parker, Louise Jane. "Shadows, struggles and poetic guilt : Glyn Jones, his literary doubles and the Welsh-language tradition." Thesis, Swansea University, 2011. https://cronfa.swan.ac.uk/Record/cronfa42983.
Full textAbstract:
An 'Anglo Welsh' writer who emerged in the 1930s to considerable acclaim in Wales and London, Glyn Jones was a contemporary and friend of Dylan Thomas. An innovative Welsh Modernist, he found the genres of poetry and the short story best suited to the exhibition of his concise, imagist and often grotesque experimentalism. Unlike Thomas, he wrote two novels, was a 'gentle' satirist of Welsh culture, and was deeply embroiled in the 'post-colonial' cultural conflicts of his nation. Jones struggled to find expression between two languages and worked insistently (often antagonistically) in the Welsh literary scene throughout its most controversial century, when it fought to save the Welsh language and resolve its conflicting cultural factions into a consolidated national identity. Jones was, to adopt the rubric of Bhabha, stranded in the cultural margins at the intersection of the English and Welsh languages, and this thesis situates itself accordingly. The first of six chapters examines the ways in which the Welshlanguage culture of Wales engaged Glyn Jones, and explores how a liminal voice can establish its cultural validity via rewriting autobiography into a 'mythical' history. The second chapter adopts Harold Bloom, the concept of intertext and psychological notions of the 'other', to address Jones's conflicted relationship with Dylan Thomas. The third attempts to analyse his twentieth-century dialogue with Dafydd ap Gwilym as he seeks affirmation from his fourteenth-century double. The fourth continues this 'othering' of Welsh ancients and considers how Wales is refracted in some of his work through the literary excavation of Llywarch Hen, tenth-century defender of his princedom, but willing forfeiter of his sons. The fifth chapter considers how Jones inherited but re-invented the role of the cyfarwydd (storyteller), and the sixth explores how Hen Benillion (Welsh folk poetry) fostered his peculiarly Welsh Modernism.
16
Tingle, Joseph Edwin. "The emperor's music : the creation of a poetic tradition from the Han dynasty music bureau." HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1443.
Full text
17
Miller, Tiffany Dawn Creegan González Espitia Juan Carlos. "Poetic representations of the indigenous woman in Conjuros y ebriedades reviving tradition to renegotiate the future /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1055.
Full textAbstract:
Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007.Title from electronic title page (viewed Mar. 27, 2008). "... in partial fulfillment of the requirement for the degree of Master of Arts in the Department of Romance Languages Spanish / American." Discipline: Romance Languages; Department/School: Romance Languages.
18
Parsons, James 1956. "Ode to the Ninth: the Poetic and Musical Tradition Behind the Finale of Beethoven's Choral Symphony." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc935728/.
Full textAbstract:
This study examines the finale of Beethoven's choral symphony and focuses on its inspirations and aims to invoke critical theories involving genre, namely genre's "horizon of expectation", and lead to an enriched perspective that points toward a number of compelling aspects of the Choral Finale overlooked by previous commentators.
19
Gosetti, Valentina. "Tradition and poetic experimentation in Gaspard de la Nuit : Aloysius Bertrand and cultural exchange in French romanticism." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:5ecd95e8-9c06-4880-9943-5fe37a10bc6f.
Full textAbstract:
In mainstream literary histories, Aloysius Bertrand (1807-1841) is still remembered as the canonical inventor of the prose poem in France. The established classification of Gaspard de la Nuit (1842) within the realm of the prose poem inevitably involves a retrospective appreciation of Bertrand’s work in light of the better-known authors that succeeded him in the history of this genre, such as Baudelaire and Mallarmé. The result is that Bertrand is often viewed as the inventor and/or the precursor of this genre; an important but, ultimately, minor contributor to its development. This hindsight brings with it a risk of critical anachronism against which Bertrand's contribution is often downplayed, especially because his thematic choices are seen to be outmoded, when compared to works by poets writing decades later. This thesis is a re-examination of Bertrand's Gaspard de la Nuit, incorporating an analysis of the cultural context that contributed to its production. The central argument is that in order to fairly assess Bertrand’s work, it is crucial to consider the poet’s contribution to, as well as his position in, the wider cultural exchange typical of his time. Using this contextual and historical approach, this thesis examines and challenges some of the main traditional considerations of Bertrand, such as his being a petit romantique, his provincialism, his unoriginality, and his role as the precursor and/or inventor of the prose poem. The overall aim is to assess fairly Bertrand’s unique synthesis of contemporary cultural and literary material with his own original work. By emphasising the crucial role of cultural exchange at the time of Gaspard de la Nuit’s production, we are thus able to begin to understand Bertrand in his own terms, rather than those of his successors, ourselves included, challenging commonly-held views and opening up new avenues for research.
20
Jan, Rabea. "Re-creating literature : translation in the English-language poetic tradition, with reference to Pope's Iliad and Pound's Cathay." Thesis, University of Exeter, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296232.
Full text
21
SILVA, SOFIA MARIA DE SOUSA. "THE CONNECTION BETWEEN: THE POETIC PRINCIPLES OF SOPHIA DE MELLO BREYNER ANDRESEN AND ADÍLIA LOPES AND THE TRADITION OF MODERNITY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=10676@1.
Full textAbstract:
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORFUNDAÇÃO CALOUSTE GULBENKIAN
As obras poéticas de duas autoras portuguesas, Sophia de Mello Breyner Andresen (1919-2004) e Adília Lopes (n. 1960), refletem sobre o que é a poesia e, ao fazê-lo, procuram uma solução para um problema legado pela modernidade: como conciliar a liberdade da arte com uma função social? No esforço de superar o abismo que vem dos modernos, as suas obras apresentam surpreendentes pontos de contato. A tese estuda os pontos de aproximação entre as duas autoras, mas não deixa de examinar as significativas diferenças entre elas, em geral associadas à própria história da poesia no século XX. Ambas mantêm com a tradição da modernidade uma relação de proximidade e afastamento simultâneos.
The works of Sophia de Mello Breyner Andresen (1919-2004) and Adília Lopes (born in 1960), two Portuguese poets, are constantly investigating about the nature of poetry and searching a social function for it. They both seem to try to find an answer for a question Modernity has left: is it possible to combine the freedom of poetry with a social role for it? On trying to find a solution for this problem, their works reveal surprising similarities. This thesis studies the connections between this two writers, as well as the significant differences between their works, which are usually associated to the history of poetry in the 20th century. Sophia and Adília have a relationship with the tradition of modernity that is simultaneously close and distant.
22
Cornette, Renan Pires. ""Deles me vali": José Paulo Paes e a tradição poética." Universidade Federal de Goiás, 2008. http://repositorio.bc.ufg.br/tede/handle/tede/3894.
Full textAbstract:
Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-01-16T17:09:59Z
No. of bitstreams: 2
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)
Dissertação - Renan Cornette - 2008.pdf: 959458 bytes, checksum: 4c22d00ea47142cb72ba04731a6f46b5 (MD5)Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-01-16T17:35:14Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Renan Cornette - 2008.pdf: 959458 bytes, checksum: 4c22d00ea47142cb72ba04731a6f46b5 (MD5)
Made available in DSpace on 2015-01-16T17:35:14Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Renan Cornette - 2008.pdf: 959458 bytes, checksum: 4c22d00ea47142cb72ba04731a6f46b5 (MD5) Previous issue date: 2008-08-16
Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
The present work considers the relation between the poet José Paulo Paes and the poetic tradition. Its purpose is examining how the poet retakes and reinvents different poetic traditions. Among the adopted traditions by the poet, is the Greek one with its forms: epigram, epitaph and epitalamium. José Paulo Paes recovers these fixed forms but, by means of humor and irony, he adds new hues to them. Moreover, he remakes ancient proverbs in a parodic process of getting back of the original model and unconstruction of it. The theory that holds this work is that one of Eliot, in “Tradition and the individual talent”, that says the new poet finds his best and most original moments when he talks to the tradition. So we analyze too the relation among Paes and some of his forerunners, as Drummond, Bandeira, Augusto de Campos and the unknowed baiano modernist Sosígenes Costa. Although the poet initialy introduces himself as learner, by insisting in a refined irony, he is capable to reach his personal diction, expressing thus an own voice.
O presente trabalho considera a relação do poeta José Paulo Paes com a tradição poética. Seu propósito é examinar o modo como o poeta retoma e reinventa diferentes tradições poéticas. Entre as tradições adotadas pelo poeta, está a grega com suas fórmulas: o epigrama, o epitáfio e o epitalâmio. José Paulo Paes recupera essas formas fixas, mas, por meio do humor e da ironia, acrescenta novos matizes a elas. Além disso, reelabora antigos provérbios, num processo paródico de retomada e desconstrução do modelo original. A teoria que fundamenta este trabalho é a de Eliot em “A tradição e o talento individual”, que afirma que o poeta novo encontra seus momentos melhores e mais originais quando fala com a tradição. Assim, analisamos também a relação de Paes com alguns dos seus precursores, como Drummond, Bandeira, Augusto de Campos e o desconhecido modernista baiano Sosígenes Costa. Embora o poeta se apresente inicialmente como aprendiz, ao insistir numa ironia refinada, consegue alcançar sua dicção pessoal, exprimindo, assim, uma voz própria.
23
Silveira, Juliana Fabrícia da [UNESP]. "Ecos medievalizantes na poesia de Manuel Bandeira: um exercício de aprendizagem poética." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/94139.
Full textAbstract:
Made available in DSpace on 2014-06-11T19:26:53Z (GMT). No. of bitstreams: 0
Previous issue date: 2009-09-02Bitstream added on 2014-06-13T18:55:29Z : No. of bitstreams: 1
silveira_jf_me_sjrp.pdf: 372236 bytes, checksum: 5d3c02c0720146a6f7cf7a9c1423d1b2 (MD5)Esse trabalho analisa a presença de ecos medievalizantes na poesia de Manuel Bandeira como exercício de aprendizagem poética. Para isso, selecionamos alguns poemas de Bandeira que possuem uma vinculação mais explícita com a lírica medieval, seja pela temática, seja pela forma, embora esses ecos perpassem por toda sua produção poética. A influência decisiva da poesia medieval portuguesa é apontada pelo próprio poeta em suas cartas, crônicas e na autobiografia intelectual Itinerário de Pasárgada e se manifestam de modo exemplar nos poemas analisados neste trabalho (“Cantiga de amor”, de Mafuá do Malungo; “Canção das muitas Marias”, de Opus 10; “Cantar de amor” e “Cossante”, de Lira dos Cinquent’anos; “Solau do desamado”, de Cinza das horas; e “Rimancete” e “Baladilha arcaica”, de Carnaval). Cada um deles empreende uma relação diferente com o medieval, ora pela negação dos arquétipos da poesia antiga, ora pelo tom de homenagem. Enfatizando o modo como se realiza essa recuperação da poesia medieval, o trabalho dá destaque ao fato de que a poesia de Bandeira modula e problematiza os pressupostos de liberação do passado e do lusitanismo característicos do Modernismo de 1922. Esse gesto não se baseia em um espírito de continuidade, mas funciona como experimentação que permite a Bandeira se especializar e se singularizar dentro de um campo que destaca o caráter rítmico e profano da poesia.
The aim of this work is to analyze the presence of medieval echoes in Manuel Bandeira‟s poetry as an exercise of poetic learning. To this end, some of Bandeira‟s poems which a more explicit connection with medieval lyrics either thematic or formal were selected, although these echoes can be identified throughout his poetic works. The crucial influence of Portuguese medieval poetry is pointed out by the poet himself in his personal letters, chronicles and intellectual autobiography named Itinerário de Pasárgada, and in an exemplary way in “Cantiga de amor”(Mafuá do Malungo); “Canção das muitas Marias” (Opus 10); “Cantar de amor” and “Cossante” (Lira dos Cinquent’anos); “Solau do desamado” (Cinza das horas); “Rimancete” and “Baladilha arcaica” (Carnaval), poems analyzed in this work. Each poem undertakes a different relationship with the medieval element, either by the denial of traditional poetry archetypes or by showing signs of respect. When emphasizing how this return of medieval poetry is realized, this work highlights the fact that Bandeira‟s poetry modulates and problematizes the presuppositions of rupture from (Luso-medieval) tradition, characteristics of Brazilian Modernism in 1922. The poet‟s attitude is not based on a spirit of continuity. It works as an experiment that allows Bandeira to have a specific and singular style within a field which emphasizes the rhythm and profanity of poetry.
24
Lahlou, Abdelhak. "Poésie orale kabyle ancienne. Histoire sociale, Mémoire orale et création poétique." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0113.
Full textAbstract:
Jusqu’au milieu du XXe siècle, la littérature kabyle fut essentiellement orale et s'exprimait principalement dans le genre poétique. Si les contes, les fables, les légendes et autres récits mythiques furent l'autre moyen par quoi les Kabyles exprimèrent leur génie, il reste que c’est la poésie qui fût la matrice de leur culture et le réceptacle de leur histoire. Plus qu’un art qui doit transfigurer le réel, la poésie kabyle a pour rôle de rendre ce réel, l’interpréter et le clarifier pour donner du sens aux événements historiques et politiques auxquels sont confrontés les hommes et les femmes de cette région. L’objet de notre recherche est de partir de la production poétique la plus ancienne telle qu’elle est arrivée à nous par les recueils de Adolphe Hanoteau (1867), Amar-Ou-Saïd Boulifa (1904), Belkacem Bensedira (1887), Jean Amrouche (1988) et la somme considérable établie par Mouloud Mammeri (1969, 1980, 1989) afin de scruter l’horizon culturel de la Kabylie et saisir, à travers l’étude les textes, l’homme dans son enracinement social et culturelUntil the middle of the twentieth century, Kabyle literature was essentially oral and was mainly expressed in the poetic genre. If tales, fables, legends and other mythical narratives were another way by which the Kabyle people expressed their genius, it remains that poetry was the matrix of their culture and the receptacle of their history. The Kabyle poetry, more than an art that has to transfigure reality, has the role of rendering this reality, interpreting it and clarifying it to give meaning to the historical and political events.The object of our research is to start from the earliest poetic production as it came to us by the collections of Adolphe Hanoteau (1867), Amar-Ou-Saïd Boulifa (1904), Belkacem Bensedira (1887) Jean Amrouche (1988) and the considerable sum established by Mouloud Mammeri (1969, 1980, 1989) in order to examine the cultural horizon of Kabylia through the study of its oral poetry
25
Alconchel, Marcos David. "Poesia e verso (uma leitura da Lira dos Cinqüent\'anos de Manuel Bandeira)." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-13052014-103520/.
Full textAbstract:
Este trabalho volta-se para a leitura analítica da sexta coletânea de versos de Manuel Bandeira, Lira dos cinqüentanos, marcada por um forte retorno aos meios tradicionais de expressão poética (como atestam os diversos textos em formas fixas e o considerável número de composições metrificadas e rimadas, as quais perfazem praticamente três quartos do livro). O nosso intento é demonstrar que esse conjunto de textos entranhado nas Poesias completas de 1940 (e bastante refundido, quatro anos depois) pode ser encarado, em virtude de sua ampla variedade estilística (que, a despeito do forte peso da tradição literária, não abandona as conquistas estéticas do movimento modernista, ostensivas em poemas como Maçã e O martelo, entre outros) como uma síntese do itinerário poético bandeiriano. A referência, no título, ao cinqüentenário do autor explicita a dimensão celebrativa da obra, dando a ver o cruzamento, em Bandeira, entre vida e obra Estrela da vida inteira. Por tudo isso, Lira dos cinqüentanos compõe, ao lado dos dois livros modernistas surgidos na década de 1930, Libertinagem e Estrela da manhã, a parte mais densa, em termos de qualidade estética, da lírica bandeiriana.This paper provides an analytical reading of Manuel Bandeiras sixth poetry collection, entitled Lira dos cinqüentanos, which is marked by a strong regress to the traditional means of the poetic expression (as attested by the different texts composed in fixed form and the number of metrical and rhymed compositions, that constitute almost three quarters of the book). The intent here is to demonstrate that such gathering of texts of 1940s Poesias Completas (much remodeled four years later) can be seen, on grounds of its great stylistic variety (which, in spite of the weight of tradition, do not departs from aesthetical achievements of modernism, acknowledgeable in poems like Maçã and O Martelo, among others), as a synthesis of Manuel Bandeirass poetic itinerary. The reference in the title to the authors fiftieth elucidates the celebratory extent of his opus, which allows us to see the interlacement between life and work Estrela da vida inteira. For all that, Lira dos cinqüentanos constitutes, along with the two modernist books from 1930s, Libertinagem and Estrela da manhã, the more consistent part, concerning aesthetic quality, of Bandeiras lyric.
26
Cabre, Miriam. "Cerveri de Girona and his poetic traditions." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321186.
Full text
27
Tang, Yanfang. "Mind and manifestation : the intuitive art (Miaowu) of traditional Chinese poetry and poetics /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487848531365196.
Full text
28
Borges, Lígia de Moura. "Tecendo o sopro do narrador." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-07072017-103519/.
Full textAbstract:
Este trabalho está centrado na Arte de Contar Histórias e o sopro do narrador, fundamento da vocalidade poética. Ao pensar nos diversos caminhos possíveis para a sua composição, foi aprofundada uma visão direcionada para o entrelaçamento das experiências subjetivas com a própria narrativa. Essa é uma vereda que tem como base a Palavra Viva, proveniente dos narradores tradicionais, onde é ressaltado o seu aspecto artesanal. Paralelos com a contemporaneidade foram cercados, assim como imagens e metáforas, dentre os quais se destacam a criança, o peregrino e o selvagem, que permeiam a reflexão sob ângulos diversos. Para abordá-los é sugerida a ideia de despreparo que se contrapõe a uma ideia de formação mais linear e acentua o chamado à experiência.This work is centered on the Art of Storytelling and the breath of the narrator, the foundation of the poetic vocality. In thinking about the different possible paths for its composition, a vision was focused on the intertwining of subjective experiences with the narrative itself. This is a path based on the Living Word, from the traditional narrators, where their artisan aspect is emphasized. Parallels with contemporaneity have been surrounded, as well as images and metaphors, among which the child, the pilgrim and the savage stand out, which permeate the reflection under different angles. To address them is suggested the idea of unpreparedness that opposes a more linear idea of formation and accentuates the call to experience.
29
Fernandes, Geraldo Augusto. "Fernão da Silveira, poeta e coudel-mor: paradigma da inovação no \'Cancioneiro Geral\' de Garcia de Resende." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-24082007-145905/.
Full textAbstract:
Pretende-se, neste estudo, discutir como os poetas palacianos do Quatrocentos português usaram a tradição e a inovaram com elementos de inventividade e criatividade, de modo a serem denominados precursores de futuras estéticas literárias. Tomar-se-á por paradigma o poeta e coudel-mor Fernão da Silveira. Uma das principais personagens da nobreza portuguesa, Silveira destaca-se por extensa produção poética, bem como pelo rigor com que exerceu sua função política. Uma vez que a crítica vem apontando o Cancioneiro Geral de Garcia de Resende como repositório de futuros movimentos literários, o objetivo é examinar, através de Fernão da Silveira, os meios de que se serviram os poetas do fim do medievo português no cultivo de formas e temas caros às escolas renascentista e barroca e, mais tarde, à arte literária concretista e experimentalista.This study intends to discuss how the Portuguese Court poets of the XVth. century made use of tradition and innovated it with elements such as inventiviness and creativeness in order to be considered as forerunners of future literary aesthetics. For this purpose, the poet and master of the royal stud farm Fernão da Silveira has been taken as a paradigm. One of the most influential persons of the Portuguese nobility, Silveira distinguishes himself for his wide poetic production and for the rigour he performed his political role. Since criticism considers Garcia de Resende\'s Cancioneiro Geral a repository of future literary moviments, the purpose is to examine, through Fernão da Silveira\'s poetic production, the means that could have led the poets of the end of the Portuguese medieval era to cultivate forms and themes dear to the Renaissance and Barroque aesthetics and, later, to the concrete and experimentalist literary arts.
30
Yamamoto, Kumiko. "The oral background of Persian Epics : storytelling and poetry /." Leiden : Brill, 2003. http://catalogue.bnf.fr/ark:/12148/cb38998044f.
Full text
31
Meyer, David Francis. "Computationally-assisted analysis of early Tahitian oral poetry." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5984.
Full textAbstract:
A computationally-assisted analysis was undertaken of Tahitian oral poetry transcribed in the early 19th century, with the aim of discovering its poetic organization. An automated pattern detection process attempted to recognize many of the organizational possibilities for poetry that have been documented in the literature, as well as be open to unanticipated varieties. Candidate patterns generated were subjected to several rounds of manual review. Some tasks that would have proved difficult to automate, such as the detection of semantic parallelism, were pursued fully manually. Two distinct varieties of meter were encountered: A syllabic counting meter based upon a colon line, and a much less common word stress counting meter based upon a colon line or a list item. The use of each meter was ubiquitous in the corpus, but somewhat sporadic. Word stress counting meter was typically applied to lists, and generally co-occurred with patterns of syllabic counting meter; perhaps in order to enhance metrical effect through an addition of rhythm. For both meters, counts were regulated by an external pattern, wherein they were observed to repeat, increment, form inverted structures, or group into alternating sequences. There appeared to be few limitations as to the possibilities for a pattern‟s starting count or length. Patterns were found to juxtapose freely, as well as alongside unpatterned counts. According to Nigel Fabb and Morris Halle, syllabic counting meter is only otherwise encountered in a style of Hebrew poetry from the Old Testament (Fabb and Halle 2008:268, 271, 283). Word stress counting meter may be unique to Tahitian poetry. The colon also functioned as poetic line for purposes of sound parallelism, which manifested itself in patterns of simple assonance, simple consonance, and complex patterns that combined simpler ones of assonance, consonance, and parallel strings of phonemes. Although sound patterns most often spanned lines, they were sometimes constrained to within a line. Occasionally, they were arranged into inverted structures, somewhat analogous to those noted for counting meter. Some sound patterns were contained within names and epithets, and perhaps served as recurring islands of parallelism. Syntactic parallelism was common, especially in the organization of lists. Occasionally, its application was suggestive of canonical parallelism. Items of syntactic frame lists were often arranged so as to assist patterns of counting meter. A syntactic frame‟s variable elements often belonged to a single semantic category for which there seemed to be no restriction, and which could represent any taxonomic level. There appeared to be complete freedom in regards to the arrangement of syntactic frame patterns, and it was common for several to follow one another in unbroken succession. There is evidence that some of the corpus poetry was memorized. Other evidence suggests that a capacity existed, and perhaps continues to exist, of poetic composition-in-performance.
32
Silva, Rummenigge Santos da. "PlatÃo crÃtico e herdeiro da tradiÃÃo poÃtica." Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=16169.
Full textAbstract:
nÃo hÃEsta dissertaÃÃo tem como objetivo elucidar algumas noÃÃes concernentes à crÃtica de PlatÃo a poesia. Para isso, buscou-se trazer a lume as caracterÃsticas tradicionais do discurso poÃtico, expondo-as como ferramentas fundamentais no desenvolvimento da anÃlise. Estas caracterÃsticas nÃs podemos encontrar na relaÃÃo do poeta com o divino, na sua comparaÃÃo com o adivinho e, atà mesmo, em um dado momento, na atribuiÃÃo do poeta como um guia. Empreender esse movimento consciente aos aspectos tradicionais, sem prescindir de uma reflexÃo, à de grande importÃncia para se resgatar a figura do poeta aos olhos helÃnicos de PlatÃo. Relacionar à esfera tradicional Ãquela presente na RepÃblica (de ordem mais prÃtica) à a tarefa a ser buscada.
This dissertation has as objective to clarify some notions concerning the criticism of Plato poetry. For this, we sought to bring to light the traditional features of poetic discourse, exposing them as key in the development of his analysis. These features we can find in the poetâs relationship to the divine, in comparison with the diviner, and even at one point in the allocation of the poet as a guide. Undertake this conscious movement to traditional ways, without giving a thought; it is of great importance to redeem this figure to Hellenic eyes of Plato. Relate to the traditional sphere to that present in the Republic (even more practical) is the task to be sought.
33
Silva, Laís Midori da [UNESP]. "Finismundo a última viagem e o périplo haroldiano." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/136296.
Full textAbstract:
Submitted by Laís Midori da Silva null (midori.lais.lm@gmail.com) on 2016-03-17T13:53:08Z
No. of bitstreams: 1
Finismundo a última viagem e o périplo haroldiano - Laís Midori da Silva.pdf: 1521452 bytes, checksum: b75b44cdcc79b333eb3458fa7bc80c1d (MD5)Approved for entry into archive by Sandra Manzano de Almeida (smanzano@marilia.unesp.br) on 2016-03-17T14:31:24Z (GMT) No. of bitstreams: 1 silva_lm_me_sjrp.pdf: 1521452 bytes, checksum: b75b44cdcc79b333eb3458fa7bc80c1d (MD5)
Made available in DSpace on 2016-03-17T14:31:24Z (GMT). No. of bitstreams: 1 silva_lm_me_sjrp.pdf: 1521452 bytes, checksum: b75b44cdcc79b333eb3458fa7bc80c1d (MD5) Previous issue date: 2016-02-26
Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
O presente trabalho realiza uma leitura do poema Finismundo a última viagem (CAMPOS, 1990), do brasileiro Haroldo de Campos. Ocorre que, ao investigarmos os diálogos do poeta com a tradição literária, cuja influência é explicitamente citada no corpo do texto, e a (re)significação contemporânea do mito de Ulisses, empreendida por Haroldo de Campos por meio de uma leitura calcada na poética sincrônica, que atua na obra haroldiana como provocação ao leitor, que é desafiado a reler as obras clássicas no espaço contemporâneo de Finismundo; chamou-nos atenção o processo composicional do poema (estrutura com traços concretistas e utópicos), que se contrapõe à proposta apresentada pelo próprio Haroldo de Campos em Depoimentos de Oficina (2002), onde ele afirma ter imaginado Finismundo como poema “pós-utópico”. Dessa maneira, nossa proposta é investigar a composição do poema (atentando-nos à sua estrutura formal e, a nosso ver, utópica), associando-a ao estudo crítico publicado por Haroldo de Campos em 1997, Poesia e Modernidade: Da Morte do Verso à Constelação. O Poema Pós-Utópico, no qual ele afirma que não há mais espaço para as utopias, associando-o ainda ao texto Sobre Finismundo: A Última Viagem (1997). A nosso ver, Finismundo, o poema transgressor de formas, sincrônico, com traços concretistas, deixa entrever que talvez haja no mínimo uma contradição, posto que utopia e não-utopia são coexistentes no poema analisado.
This work performs a reading of the poem Finismundo the last voyage (CAMPOS, 1990), by the Brazilian Haroldo de Campos. It happens that, to investigate the poet dialogues with literary tradition, whose influence is explicitly mentioned in the text, and contemporary reinterpretation of Ulysses myth, undertaken by Haroldo de Campos, through a based reading on the synchronic poetic, engaged in haroldiana work as a provocation to the reader, who is challenged to re-read the classic works in Finismundo’s contemporary space; what called our attention was the compositional process of the poem (structure with concretists and Utopian features), which is opposed to the proposal by Haroldo de Campos himself in Workshop Testimonials (2002), where he claims to to have imagined Finismundo as a “post-utopian” põem. Thus, our proposal is to investigate the poem composition (paying attention to its formal structure and, in our view, utopian), associating it with the critical study by Haroldo de Campos in 1997, Poetry and Modernity: From the Back of Death the Constellation. The Post-Utopian poem, in which he states that there is no more place for utopias, associating it still with the text About Finismundo: The Last Journey (1997). In our view, Finismundo, the forms transgressor poem, synchronic, with concretists features, allows us to glimpse that there may be at least a contradiction, since utopia and non-utopia are coexisting in the analyzed poem.
CNPq:131185/2014-4
34
Al-Shalabi, Marwa. "Caroline love poetry and the Renaissance tradition." Thesis, Bangor University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.331953.
Full text
35
DEPIERRIS, JEAN LOUIS. "Tradition et insoumission dans la poesie francaise." Paris 3, 1986. http://www.theses.fr/1986PA030019.
Full textAbstract:
Notre etude s'etend des origines de la poesie francaise a la poesie en train de se faire aujourd'hui. La premiere partie evoque, apres les premices, la periode comprise entre guillaume neuf d'aquitaine et baudelaire. La seconde traite de baudelaire au surrealisme. Elle annonce la troisieme partie consacree a la poesie vivante des generations nees entre mil neuf cents et mil neuf cent cinquante. Si, dans la seconde partie, nous avons insiste sur le registre gemine tradition - insoumission chez lautreamont, valery, milosz, cendrars, a. Breton, artaud, michaux, ponge, il nous a paru cependant que leur oeuvre, malgre sa dimension, constitue plus une compensation, qu'une singularite irreductible. En revanche, rimbaud, mallarme, apollinaire, reverdy, jouve et saint-john perse nous ont paru incarner l'insoumission. La troisieme partie est consacree a quatre nouveaux poetes insoumis de quatre generations successives: e. Humeau, j. Rousselot, g. Puel, j. Breton. En donnant autant de place a cette troisieme partie qu'aux deux precedentes, nous avons tente de preserver l'equilibre entre une poesie resolument moderne et la poesie jusqu'a baudelaire, entre une poesie genre litteraire et la poesie qui cesse de l'etre pour atteindre l'experience de la tota- lite. Un dossier annexe, ensemble de documents dates, retrace l'evo- lution poetique de mil neuf cent soixante a mil neuf cent quatrevingt. En definitive, nous aurions souhaite faire apparaitre que le mecanisme de la creation poetique ne peut etre declenche que par la combinaison et l'enchainement obliges de la tradition et de l'insou- missionThis study analyzes french poetry from its origin to poetry in the making. The first part, which brings in the earliest stages of its history, covers the period from william the ninth of aquitaine till baudelaire. The second part leads from the age of baudelaire up to surrealism. It introduces the next stage, devoted to present-day poetry, one typical of the generations who were born between nineteen hundred and nineteen fifty. While the second part insists on tradition and refusal to submit as related modes in the works of lautreamont, valery, milosz, cendrars, a. Breton, artaud, michaux and ponge, we also considered that, in spite of its scope, this body of writing is an expression of the need to compensate more than a drive towards singularity of purpose. However, rimbaud, mallarme, apollinaire, reverdy, jouve and saint-john perse seem to embody dismissal of submission. The third part of the study is devoted to four newer unsubmissive poets belonging to four succeeding generations : e. Humeau, j. Rousselot, g. Puel and j. Breton. By focusing on this period, we attempted to preserve a balance between an altogether modernist poetry and the poetry up to baudelaire, between poetry as a literary genre and the one which far transcends it in an achievement of the holistic dimension. An appended series of documents delineates the poetic evolution of the years nineteen sixty - nineteen eighty. As a rule, we are demonstrating how the mechanics of poetic creation can only be started through a combina- tion and compulsive alliance of tradition and the refusal to submit
36
Lipson, Daniel B. "Tradition. Passio. Poesis. Retreat: Comments around “The Gallery”." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/690.
Full textAbstract:
Although Andrew Marvell wrote and published relatively little, his poetry collects from the full range of “schools” and idiosyncratic styles present in the seventeenth century: echoes of Herbert, Donne, Milton, Traherne, Herrick, Lovelace, and Jonson, among others, permeate throughout his work. Although much of his imagery seems novel, if not strange, it is clear that Marvell has a deep engagement with several important long-running traditions. His work is conversation with Ovid, Horace, and Theocritus as much as it responds directly to the poets whose lives overlapped with his own. In his engagement with such varied sources, Marvell demonstrates an astounding degree of poetic flexibility. He is a master of imitating voice and style.
37
Hynd, Hazel. "Tradition and rebellion : the poetry of John Davidson." Thesis, University of Glasgow, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366340.
Full text
38
Andrade, Claudio Henrique Sales. "Aspectos e impasses da poesia de Patativa do Assaré." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-05122008-102724/.
Full textAbstract:
Neste trabalho, estudo a poesia de Patativa do Assaré, procurando descrever características e impasses que a singularizam no âmbito de literatura brasileira. De um cotejo com as poéticas do cordel e da cantoria, passando por seu diálogo com a poesia culta, vai se revelando uma produção que, dialeticamente, adere e se diferencia da tradição de onde surgiu, por força de um forte componente autoral. Este trabalho contém uma introdução, cinco capítulos e anexos. O primeiro capítulo faz um mapeamento formal da obra. O segundo consiste na análise e interpretação de três sonetos. No terceiro, estudo variações líricas em torno do tema do sertão, por meio da análise de quatro poemas. O quarto capítulo apresenta uma leitura interpretativa do poema-canção Vaca Estrela, Boi Fubá. E o quinto estuda aspectos e impasses do conflito entre tradicionalismo e modernização em representações do mundo do trabalho na obra do poetaThe aim of this thesis is to study Patativa do Assaré\'s Poetry by trying to describe characteristics and impasses that make it unique in the Brazilian literature scope. As a comparison with the poetic of the cordel as well as the chant, passing by its dialog with the erudite poetry, it is revealed as a production which adheres dialectically and differentiates from the traditional environment where it has been raised based on a strong authorial component. This research contains an introduction, five chapters and attachments. The first chapter leads the reader to a formal plotting of the work. The second one consists of an analysis and interpretation of three sonnets. In the third one, a study on lyrical variations using the sertão as a theme, by analyzing of four poems. The fourth chapter presents an interpretative reading of the poem-song Vaca Estrela, Boi Fubá. Finally, the fifth chapter studies aspects and impasses involving the conflict between traditionalism and modernization in work world representations in this poet\'s work
39
Amorim, Helen Suely Silva. "A ironia na poética de Francisco Alvim: um diálogo com a tradição e com a "poesia marginal"." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7895.
Full textAbstract:
Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-10-20T13:52:23Z
No. of bitstreams: 2
Dissertação - Helen Suely Silva Amorim - 2017.pdf: 2066258 bytes, checksum: c6805a253599eb4c023f69c0b9c55fd8 (MD5)
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-10-20T13:52:36Z (GMT) No. of bitstreams: 2 Dissertação - Helen Suely Silva Amorim - 2017.pdf: 2066258 bytes, checksum: c6805a253599eb4c023f69c0b9c55fd8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Made available in DSpace on 2017-10-20T13:52:36Z (GMT). No. of bitstreams: 2 Dissertação - Helen Suely Silva Amorim - 2017.pdf: 2066258 bytes, checksum: c6805a253599eb4c023f69c0b9c55fd8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-09-18
The purpose ofthis dissertation" The irony in Francisco Alvim' s poetry: a dialogue with tradition and marginal poetry" is to explore Alvim's poetry from the perspective o f irony analysis. It is a comparative study between his poetry and the traditional poets, such as Carlos Drummond de Andrade e Antonio Carlos Ferreira de Brito. Based on the meaningful influences over his poetry, we have decided to adopt a criticai approach to understand how the author creates his poetic text, main characteristics that lead to his singularities as a poet and the meaning of irony in his aesthetic project. The research is divided into four chapters. In the first chapter, "Francisco Alvim's poetic route: a criticai revision", is an overview about the poet and his works which aims at understanding his poetic route that comprises his first book " Sol dos Cegos" in 1968 to his last book" O metro nenhum" , in 2011. In order to have a better understanding how Alvim 's career was in poetry, it is presented a revision of a criticai reception of his poetry. The purpose is to point out, in this dissertation in progress, his poetic scope ofthis literary critic. From the study of each work and its main analysis, we intend to understand the importance of irony in the composition o f his literary texts. In the second chapter, "Alvim' s poetry according to irony", there is a theoretical study about irony, mainly romantic irony, which Alvim's work approximates to this aesthetic phenomenon. This study was based on some authors such as Friedrich Schlegel, Henri Bergson, S. A. Kierkegaard, Vladimir Propp, Octavio Paz and others. In the third chapter, "The dialogue with tradition: the influence of Carlos Drummond de Andrade" , there is a comparative study of the poetics of Drummond and Alvim, emphasizing the meaning o f irony in their set of poems. The third chapter is subdivided into tree other sections: a) The "gauche" in Drummond and Alvim; b) The social poetry in Drummond; c) The ironic mask ofthe personas. In the fourth chapter, "The dialogue with a marginal poetry: in the shape ofirony in Francisco Alvim e Antonio Carlos Ferreira de Brito. We demarcate their dialogue from the marginal poetry movement, identifying the similarities and dissimilarities between these poetic languages, mainly by the influence of marginal aesthetic and irony, as well as, criticai approach to poetic features of these poets.
A dissertação "A ironia na poética de Francisco Alvim: um diálogo com a tradição e com a "poesia marginal" intenciona discutir a poesia de Alvim, a partir da análise da ironia, realizando um estudo comparativo entre sua poética e a de autores representantes da tradição e poesia marginal, respectivamente, Carlos Drummond de Andrade e Antonio Carlos Ferreira de Brito. Nessa abordagem crítica, buscamos compreender, a partir de influências significativas de sua poesia, como o autor constrói seu texto poético, quais as principais características que o singularizam e a significação da ironia em seu projeto estético. O trabalho se divide em quatro capítulos. No primeiro capítulo, "Percurso poético de Francisco Alvim: uma revisão crítica", apresentamos o poeta Francisco Alvim e a cronologia de suas obras, intencionando compreender o itinerário poético do poeta, desde a publicação de seu primeiro livro Sol dos cegos, em 1968, ao seu último livro, O metro nenhum, em 2011. Na busca de melhor compreender sua trajetória, apresenta-se uma revisão da recepção critica de sua poesia, de modo a situar a dissertação de mestrado em andamento sobre sua poética no âmbito dessa crítica literária. A partir do estudo de cada obra e suas principais análises, pretende-se compreender a importância da ironia na composição de seus textos poéticos. No segundo capítulo, "A poesia de Alvim sob a ótica da ironia", procuramos fundamentar a dissertação com os estudos teóricos sobre a rrorua, especialmente a ironia romântica, com a qual a obra de Alvim aproxima-se na abordagem desse fenômeno estético. Para essa análise, foram fundamentais os estudos de autores como Friedrich Schlegel; Henri Bergson; S. A. Kierkegaard; Vladimir Propp; Octavio Paz; entre outros. No terceiro capítulo, "O diálogo com a tradição: a influência de Carlos Drummond de Andrade''; tecemos um estudo comparativo entre a poética desses dois autores, enfocando especialmente a significação da ironia em suas produções. O capítulo divide-se em três subcapítulos: O gauche em Drummond e Alvim; A poesia social de Drummond e A máscara irônica das personas. No quarto capítulo, "O diálogo com a poesia marginal: configurações da ironia em Francisco Alvim e Antonio Carlos Ferreira de Brito", demarcamos seu diálogo com o movimento poesia marginal, identificando as aproximações e os distanciamentos entre essas poéticas, especialmente na influência da estética marginal e no enfoque da ironia na configuração critica da poesia desses autores.
40
Reidmiller, Anne Rekers. "Horace and the Greek Lyric Tradition." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1115397326.
Full text
41
Langdell, Sebastian James. "Religious reform, transnational poetics, and literary tradition in the work of Thomas Hoccleve." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a2e8eb46-5d08-405d-baa9-24e0400a47d8.
Full textAbstract:
This study considers Thomas Hoccleve’s role, throughout his works, as a “religious” writer: as an individual who engages seriously with the dynamics of heresy and ecclesiastical reform, who contributes to traditions of vernacular devotional writing, and who raises the question of how Christianity manifests on personal as well as political levels – and in environments that are at once London-based, national, and international. The chapters focus, respectively, on the role of reading and moralization in the Series; the language of “vice and virtue” in the Epistle of Cupid; the moral version of Chaucer introduced in the Regiment of Princes; the construction of the Hoccleve persona in the Regiment; and the representation of the Eucharist throughout Hoccleve’s works. One main focus of the study is Hoccleve’s mediating influence in presenting a moral version of Chaucer in his Regiment. This study argues that Hoccleve’s Chaucer is not a pre-established artifact, but rather a Hocclevian invention, and it indicates the transnational literary, political, and religious contexts that align in Hoccleve’s presentation of his poetic predecessor. Rather than posit the Hoccleve-Chaucer relationship as one of Oedipal anxiety, as other critics have done, this study indicates the way in which Hoccleve’s Chaucer evolves in response to poetic anxiety not towards Chaucer himself, but rather towards an increasingly restrictive intellectual and ecclesiastical climate. This thesis contributes to the recently revitalized critical dialogue surrounding the role and function of fifteenth-century English literature, and the effect on poetry of heresy, the church’s response to heresy, and ecclesiastical reform both in England and in Europe. It also advances critical narratives regarding Hoccleve’s response to contemporary French poetry; the role of confession, sacramental discourse, and devotional images in Hoccleve’s work; and Hoccleve’s impact on literary tradition.
42
Einboden, Jeffrey Matthew. "Ralph Waldo Emerson, Persian poetry and the German critical tradition." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615029.
Full text
43
Kahn, David. "Milton's monistic faith : tradition and translation in the minor poetry." Thesis, University of Oxford, 1995. http://ora.ox.ac.uk/objects/uuid:f6e2a08d-413f-4107-9eb6-290c5a83e879.
Full textAbstract:
Faith for Milton is primarily a matter of man's access to God. Such access entails God's involvement in mankind. Faith is that which guarantees that God is accessible to men and also that God actively participates in the lives of his people. Milton's work exhibits a preoccupation with such a concept of faith, and wavers through the course of his life between dualist and monist formulations. Monistic faith suggests that God is directly accessible to man, while dualistic faith means that God may only be accessible in a mediated way. In the course of his career, Milton proceeded from an early dualistic faith to the declared monism of De Doctrina Christiana. This thesis examines the monistic impulse within Milton's poetry, focusing on the poems written during his mid-career (c. 1637-1653) when his outlook on faith turned. The thesis finds that although Milton expresses his monism in increasingly clear terms, he is never quite able to eliminate dualistic implications or tendencies from his faith. The thesis focuses on two strategies which Milton employs in his attempts to define a monistic world view and a monistic faith, namely, tradition and translation. These strategies represent points of confrontation between dualism and monism. They both assert monistic continuity in the face of dualist disjunction. Tradition attempts to overcome the disjunction perceptible between two remote events in time. It incorporates both the recovery of lost history as well as geographical and linguistic translation. Translation (taken as separate from tradition) attempts to overcome the disjunction between languages. It manages, however unsuccessfully, to carry meaning over from a source text to a target text while simultaneously altering every single word in the source text. Both these strategies thus provide textual and linguistic means for examining Milton's faith or his sense of divine access. This thesis examines Milton's deployment of tradition by means of a close consideration of Lycidas as well as several other early poems. It examines his 1648 and 1653 psalm translations and the unique manner in which they reveal Milton's understanding of faith. The thesis concludes that Milton's monistic faith never quite breaks free of the dualist tendencies against which it struggles.
44
Van-Hagen, Stephen. "The poetry of physical labour 1730-1800 : the Duckian tradition." Thesis, University of Kent, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432818.
Full text
45
Garner, Lori Ann. "Oral tradition and genre in old and middle English poetry /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974631.
Full text
46
Silva, Fernanda Maria Diniz da. "TradiÃÃo e modernidade na produÃÃo poÃtica de Roberto Pontes." Universidade Federal do CearÃ, 2017. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=20198.
Full textAbstract:
nÃo hÃEsta tese tem por objetivo analisar a produÃÃo poÃtica de Roberto Pontes a partir da sua relaÃÃo com a tradiÃÃo e a modernidade. à ele um dos fundadores do Grupo SIN de Literatura, que em 2017 chega ao cinquentenÃrio. Autor de grande importÃncia na literatura brasileira, sua obra poÃtica à composta pelos livros: Contracanto (1968), LiÃÃes de EspaÃo (1971), Temporal (1976), MemÃria Corporal (1982), Verbo Encarnado (1996, 2014), Breve Guitarra Galega (2002), Hierba Buena/Erva Boa (2007), 50 Poemas Escolhidos pelo Autor (2010; 2014), LiÃÃes de Tempo/ Lecciones de Tiempo (2012) e Os Movimentos de Cronos/Los Movimientos de Cronos (2012). Ao longo do nosso trabalho realizamos um estudo de poemas de Pontes, tendo como base a Teoria da Residualidade por ele sistematizada. Para consecuÃÃo da pesquisa e a elaboraÃÃo do texto, o mÃtodo utilizado foi o comparativo. Assim, buscamos subsÃdios no corpus teÃrico da Literatura Comparada, ciÃncia propiciadora da visÃo de interdisciplinaridade necessÃria à abordagem do texto literÃrio e das confluÃncias histÃricas, sociais e culturais aà implicadas. A partir do estudo da obra poÃtica do autor, foi possÃvel confirmar que Roberto Pontes reconstruiu literariamente a poÃtica caracterÃstica da Antiguidade bÃblica, do Trovadorismo e da canÃÃo Ãpica, adequando a essÃncia desses modos poÃticos ao contexto espacial e temporal de sua Ãpoca, os sÃculos XX e XXI. AlÃm disso, verificou-se que a metapoesia, a poesia social, a poesia insubmissa, a poesia experimental e a poesia filosÃfica fazem parte do escopo da produÃÃo literÃria do autor, que tem a virtude de se adequar à natureza da modernidade artÃstica. A obra de que nos ocupamos tem lugar no cenÃrio histÃrico, polÃtico e cultural no qual ocorre a GeraÃÃo 60 da literatura brasileira, configurada e periodizada por Pedro Lyra, apÃs a consolidaÃÃo do sincretismo estÃtico adotado em 1967-1968 pelo Grupo SIN de Literatura no CearÃ. Por fim, ressalte-se que a produÃÃo artÃstica do poeta, natural de Fortaleza, em muito contribui com a humanizaÃÃo da sociedade ao abordar temas universais pertinentes à essÃncia humana, os mesmos da literatura de todos os tempos e espaÃos.
This thesis aims analyze the poetic production of Roberto Pontes onwards its relation to the tradition and the modernity. He is one of the founders of Grupo SIN de Literatura, the group will complete fifty years in 2017. As an important author of Brazilian literature, his poetry is composed by the following books: Contracanto (1968), LiÃÃes de EspaÃo (1971), Temporal (1976), MemÃria Corporal (1982), Verbo Encarnado (1996; 2014), Breve Guitarra Galega (2002); Hierba Buena/Erva Boa (2007), 50 Poemas Escolhidos pelo Autor (2010; 2014), LiÃÃes de Tempo/Lecciones de Tiempo (2012) and Os Movimentos de Cronos/Los Movimientos de Cronos (2012). Throughout this work, it is conducted a study of Pontes‟ poems, based on the Residualidade Theory, developed by him. In order to guide our research and elaborate the text, it was used the comparative method. Therefore, we will search subsidies in the theoretical corpus of the Comparative Literature, science that provides the necessary interdisciplinarity vision to the approach of the literary text and the historical, social and cultural confluences involved. From the study of the poetic author‟s work, it was possible to confirm that Roberto Pontes rebuilt literarily the poetic characteristic of the Biblical antiquity, Troubadours and the epic song, adjusting the essence of these poetic modes to the spatial and temporal context of his time, the twentieth and twenty-first century. In addition, it was verified that the metapoetry, the social poetry, the unsubmissive poetry, the experimental poetry and philosophic poetry belong to the scope of the author‟s literary production, that it has the virtue of adapting to the nature of the artistic modernity. The work in study takes place in the historical, political and cultural setting, in which it occurs the 60s generation of the Brazilian literature, set and divided into periods by Pedro Lyra, after the consolidation of the esthetic syncretism adopted in 1967-1968 by Grupo SIN de Literatura in CearÃ. Lastly, it highlights that the poet‟s artistic production, born in Fortaleza, contributed significantly to the humanization of the society when it was discussed universal themes relevant to the human essence, the same ones of all times and spaces.
47
Landon, Sydney Ann. ""Sundry pithie and learned inventions" : the Paradise of Dainty Devices and sixteenth century poetic traditions /." Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/15485.
Full text
48
Vodoklys, Edward J. "Blame-expression in the epic tradition." New York : Garland, 1992. http://catalog.hathitrust.org/api/volumes/oclc/25130912.html.
Full text
49
Jeserich, Philipp. "Musica naturalis Tradition und Kontinuität spekulativ-metaphysischer Musiktheorie in der Poetik des französischen Mittelalters." Stuttgart Steiner, 2007. http://d-nb.info/988742969/04.
Full text
50
Mortuza, Shamsad. "The Shamanic and Bardic Traditions in Contemporary British Poetry." Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487208.
Full textAbstract:
The thesis examines the shamanic in poetry by exploring the work of five late modernist British poets: lain Sinclair, Jeremy Prynne, Brian Catling, Barry MacSweeney, and Maggie O'Sullivan. These poets are committed to. a radical aesthetic that questions the symbolic ordering of reality_ Loosely drawing on Mircea Eliade's notion of shamanism as 'archaic techniques of ecstasy,' they transform Eliade's version of the shaman's 'elective trauma' in order to enact a critical rejection of totalitarian tools of the state and society. I have used Sinclair's idea of the 'Shamanism of Intent' to frame three of the poets (Prynne, Catling, and Sinclair) as, in Rothenberg's phrase, 'Technicians of the Sacred' in order to highlight their intention to wrest spirituality away from the confines of religion and embody it in textual practice. This process involves an investigation and enlisting of 'hidden' energies - past and present. I have interpreted MacSweeney and O'Sullivan in terms of their attitude towards the body where it stands as a figure of the material (i.e. social and textual) and the . physical (i.e. individuals). While MacSweeney shows the physical body dismembered in a double gesture which exposes the destructive force of society and at the same time evokes the scattered body of Dionysian ritual, Maggie O'Sullivan dissects the body of her text to observe its gestation (i.e. the birth oflanguage). The process rather than the artistic product is important. Based on these criteria, I have discussed these two poets under the category of 'Technicians of the Body.' The poets studied refrain from branding their poetic practice as shamanic, to avoid possible fetishisation andexoticisation of their chosen project. My categorisation, however, is supported by the numerous engagements with shamanic elements in their work. In a broader literary context, I discuss how contemporary uses of the shamanic relate to the English Romantic poets' selective interpretation of shamanic and bardic ideas of the poet. At the same time I argue that the contemporary poets' use of shamanic elements involves a shared critique of myth.