Dissertations / Theses: 'Poetical metaphors'

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Papavero, Claude Guy. "Ingredientes de uma identidade colonial: os alimentos na poesia de Gregório de Matos." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-19032008-103724/.

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No final do século XVII, quando Salvador era a capital do Brasil colonial, os hábitos alimentares da cidade e de seus arrabaldes rurais inspiraram muitas metáforas e metonímias ao advogado e poeta seiscentista Gregório de Matos, também conhecido pela alcunha de Boca de inferno. Transformados em fontes de tropos satíricos ou burlescos, os alimentos consumidos na colônia serviram ao poeta para ridicularizar muitos integrantes da sociedade soteropolitana. A obra de Matos documentou um processo histórico e revelou uma maneira local mazomba de conceber o mundo. Seus sarcasmos e suas ironias atacaram inimigos pessoais, cujos hábitos alimentares indignos ou aparências físicas criticaram. Eles se voltaram também contra categorias sociais de colonos que, por sua ascensão econômica, não respeitavam os códigos sociais e culturais vigentes na colônia. A obra de Matos permitiu a essa tese de doutorado em Antropologia Social investigar os conceitos de hierarquia que norteavam a sociabilidade das elites soteropolitanas. Ela foi preservada pelo público do poeta que copiou as poesias após seu exílio para Angola, comprovando a condição assumida por ele de porta-voz dos mazombos frente à crise que, nas últimas décadas do século XVII, afetou o estilo de vida perdulário da população colonial abastada. O recurso intencional a metáforas alimentares também delineou, involuntariamente, os hábitos cotidianos dos colonos. Apesar dos clichês e provérbios e das alusões obscenas do poeta aos manejos dos alimentos, os versos evidenciaram muitos hábitos de nutrição facilmente identificados pelo público. Verificou-se durante a investigação como três fontes principais de representações culturais modelavam a dieta alimentar soteropolitana: o pertencimento religioso dos colonos ao catolicismo, aspirações de ascensão social e a obediência aos preceitos da medicina humoral hipocrática. At the end of the 17th. Century, when Salvador was the capital of the brazilian colony, the food habits of the city and of its rural surroundings inspired a series of metaphors and metonymies to the lawyer and poet Gregório de Matos, also known as \"the mouth of hell\". Transformed into sources of satiric or burlesque poems, the food taken in the colony served him to ridicule many members of Salvador\'s society. Matos\'s work documented a local manner (mazomba) of conceiving the world, specific to the elites. His sarcasms and ironies attackked personal enemies whose alimentary habits or physical appearances were criticised. They where also directed against social categories of the colony which, due to their economic ascension, did not respect the social and cultural codes established until then in the Portuguese colony. Matos\'s poetic workk allowed the present Ph.D. thesis on Social Anthropology to investigate the concept of hierarchy that guided the sociability in Salvador. The poet\'s work was preserved by his public, who copied the poems after his exile in Angola. This proves that he assumed the position of spokkesman of the rich colonial population facing the crisis that, in the last decades of the 17th. Century, affected their spend thrift style of life. The intentional resource to alimentary metaphors also described, involuntary, the daily habits of the colony. Although the clichés and proverbs inserted in the poems, and in spite of the obscenity of the allusions to food manipulations, they referred to several nutrition processes easily identified by the public. During the investigation it was verified that three main sources of cultural representation modelled the alimentary diet in Salvador: the religious belonging of people to Catholicism, aspiration to social ascension and the obedience to the precepts of the Hippocratic humoural medicine.

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Cranitch, Ellen. "The metaphor imperative : a study of metaphor's assuaging role in poetic composition from Ovid to Alice Oswald." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6870.

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Part I of the thesis considers the nature and function of metaphor in the articulation of both poetic theme and of poetic self. Using close analysis of texts by Ovid, Shakespeare, George Herbert and a number of contemporary poets, and drawing on material from both published and unpublished interviews which I undertook with Alice Oswald, Glyn Maxwell and Andrew Motion, (the transcripts of which are included in the appendices), this thesis uses metaphor theory, literary criticism and cognitive poetic criticism to argue that the assuaging role of metaphor is fundamental at critical junctures of poetic composition. Chapter One provides a historical survey of metaphor theory. Chapter Two, in order to determine the best methodology for my analysis of the key thesis texts, contrasts three different readings of Shakespeare's Sonnet 73. Chapter Three suggests the model of Ovidian metamorphosis as a means to examine the assuaging role of metaphor in crisis of consciousness and utterance. The dialectic of sameness and difference, a key property of metaphor, is shown to be intimately connected with the imperative for assuagement in the modern lyric poet. Chapter Four explores a number of ways in which metaphor is deployed by George Herbert to overcome the personal and poetic inhibitions he experiences as a result of his intimate awareness of a listening God. Chapter Five examines Andrew Motion's movement away from the metonymic towards the metaphoric mode in The Customs House. Chapter Six analyses how Alice Oswald, by creating a radically innovative metaphoric mapping between biography and simile pairs assuages the long litany of violent deaths drawn from Homer's Iliad. Chapter Seven examines the way Glyn Maxwell in The Sugar Mile, embraces dramatic analogue and metaphor as a means to address the horror of 9/11. All of the poets examined in the thesis are using metaphor to render the incomprehensible comprehensible. Part II of the thesis consists of my own poems.

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Scanlan, Emma. "Ominous metaphors : the political poetics of native Hawaiian identity." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/71812/.

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This thesis examines poetry by Native Hawaiian activists written between 1970 and 2016 in order to develop a detailed understanding of the multi-faceted ways poetry incorporates, transmits and enacts contemporary political identity. Whilst fundamentally a literary analysis, my methodology is discursive, and draws on a range of critical approaches, archival research and interviews with poets, in order to address why poetry is such a powerful form of resistance to American hegemony. By reading contemporary poetry as an expression of deeply held cultural and political beliefs, this thesis suggests that writing and performing poetry are powerful forms of political resistance. Adopting a lens that is attentive to both the indigenous and colonial influences at play in Hawaiʻi, it elucidates the nuanced ways that traditional literary techniques enter contemporary Native Hawaiian poetry as vehicles for cultural memory and protest. Attention to the continuities between traditional Hawaiian epistemology and the ways those same methods and values are deployed in twentieth and twenty-first century poetry, means this thesis is a part of a growing body of work that endeavours to understand indigenous literature from the perspective of its own cultural and political specificity. The introduction establishes the historical and critical context of the Hawaiian Sovereignty Movement and the Hawaiian Renaissance. It outlines the main developments in Native Hawaiian literary criticism since the late 1960s, including the reclaiming of traditional narratives and the privileging of indigenous epistemologies. Chapters One to Seven proceed chronologically, each addressing a particular collection, anthology or body of work. Chapter One focuses on Wayne Kaumualiʻi Westlake's radical rejection of Westernised Waikīkī, whilst Chapter Two explores the anthologies Mālama: Hawaiian Land and Water and HoʻiHoʻi Hou: A Tribute to George Helm and Kimo Mitchell, in relation to the Sovereignty Movement's dedication to Aloha ʻĀina (love the land). Chapters Three to Five deal with five poetry collections, two by Haunani-Kay Trask, and one each by Imaikalani Kalahele, Brandy Nālani McDougall and Māhealani Perez-Wendt. The chapters address how these poets articulate Native Hawaiian identity, nationalism and continuity through traditional moʻolelo (stories), which underpin the political beliefs of three generations of sovereignty activists. Chapters Six and Seven address contemporary performance poetry in both published and unpublished formats by Jamaica Osorio, David Kealiʻi MacKenzie, Noʻukahauʻoli Revilla and Kealoha, demonstrating how a return to embodied performance communicates aloha (love, compassion, grace). The conclusion, Chapter Eight, indicates projects that are already productively engaging Hawaiian epistemology in the areas of geography and science, and points towards developments in the digital humanities that could extend this indigenised methodology into literary studies, in order to further engage with the depth and multiplicity of storied landscapes in Hawaiʻi.

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Mehta, R. (Rajesh). "Metaphor in Ricoeur's hermeneutics of poetic language." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61170.

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Ricoeur advances a theory of metaphor as discourse. The notion of metaphor as event and as meaning is complicated by the form of written discourse and the distanciation which inscription engenders. By specifying the autonomy of the text in relation to the author's intention, the original audience, and the original context, Ricoeur argues that metaphor refers to its own world. Suggesting that the metaphorical arises from a "seeing-as" which contains a non-verbal element, he contends metaphors indicate a extra-linguistic mode of existence. The possibility of conceptualization lies for Ricoeur, at the core of the dynamism of the metaphorical. It is proposed in this thesis that Ricoeur's defence of the autonomy of speculative discourse is inadequate.

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Cook, Devon S. "Burke's Poetic Metaphor and Obama as Poet." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/4437.

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At the end of Permanence and Change, Kenneth Burke calls for a new orientation toward life and social action which he refers to as “the poetic metaphor” (261). This essay connects Burke's briefly used poetic metaphor with his theories on the use of “poetic” language in the essay “Semantic and Poetic Meaning.” What results from this synthesis is a critical tool for rhetorical analysis which allows for the discussion of style as a vehicle for communication about ethics and morals in public discourse. Obama's The Audacity of Hope is used as the example of a text which uses “poetic” language in order to discuss moral and ethical issues in a national arena. Obama ultimately dramatizes his own synthesis of values, putting himself in the position of a trusted intermediary. This analysis provides clarity on Burke's thinking at the end of Permanence and Change and helps us understand his contribution to the study of rhetoric and cooperation.

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Wan, Kong, and 溫剛. "The relationship between plant metaphors and poetic themes in the Shijing." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B41547214.

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Downes, Daniel M. "Interactive realism : a study in the metaphors, models, and poetics of Cyberspace." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0001/NQ44414.pdf.

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Fung, Mary M. Y. "Translating poetic metaphor : explorations of the processes of translating." Thesis, University of Warwick, 1994. http://wrap.warwick.ac.uk/2311/.

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This thesis aims to explore the processes of translating by focusing on the translating of poetic metaphor. The methodology used is the application of George Lakoff's theory of conceptual metaphor to two case studies, in which problems of translating will be identified, and a theoretical conclusion will be formulated. The Introduction sets out the author's basic assumptions on the process of translating, the cognitive approach to metaphor, and the adoption of Lakoff's cognitive models of metaphor in the following case studies. Part I deals with the translating of metaphors of sickness in Shakespeare's Hamlet. Chapter one attempts to construct cognitive models of sickness as seen in contemporary English against which concepts of sickness in the Elizabethan age are compared. Chapter two undertakes a detailed examination of selected Chinese translations of metaphors of sickness in Hamlet organized in accordance with the cognitive models identified earlier. Chapter three draws preliminary conclusions on the translatability of basic metaphors common to English and Chinese and the difficulties encountered in others, which can be traced to cosmological differences between the two cultures. Part II studies metaphors of love in Sylvia Plath's poetry. Chapter four presents Plath's model of love on the basis of Zoltán Kövecses' model, and discusses its conflicts with traditional Chinese concepts of love. Chapter five analyses problems involved in Chinese translations, mainly of the 'perverted' model of love in Plath's poetry. A preliminary conclusion reached in chapter six points to cultural incoherence as the main obstacle in the translating of her innovative metaphors. After reviewing current opinions on the translation of metaphor, the author proposes a model of the translating of poetic metaphor in the hope that the findings from the case studies may contribute towards a general theory.

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Coleman, Ruann. "If / Then : measuring matter through metaphor : a poetic exploration of science." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97103.

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Thesis (MA)--Stellenbosch University, 2015. ENGLISH ABSTRACT: This thesis investigates physical and philosophical measurement within the context of a Masters Degree in Visual Arts. By unpacking concepts within science through a philosophical approach to material, this study underscores and investigates questions of certainty and the unknown. This entails the examination of associated terms like ‘accuracy’ and ‘result,’ where such results are expressed and arrived at through chance and temperament rather than mathematical equations or formulas. Using the example of a Universal Conditional Statement, specifically (x)(Px⊃Qx), this physical / philosophical methodology will be applied to a practice-led artistic research. The given Statement simply denotes that what is on both the left and right of the symbol “⊃” are interchangeable, subject to the condition of “if… then”. This symbol is one that encapsulates and encompasses this document, which seeks to explore the relation between ‘if’ and ‘then’, as well as the known and unknown. Towards this end, and to understand, connect and manipulate through the measuring of material, aspects such as ‘Facts’, ‘Laws’ and ‘Quasiserial Arrangements’ are investigated. In addition, through the study of a physical measuring tool, the metre, and the history of the metric system, this thesis also tracks and discloses information regarding the quest for accuracy, demonstrating how this ever-evolving objective goes hand in hand with inaccuracy, something especially apparent in the calculation of the immeasurable and the unknown. Part of this focus looks at Werner Heisenberg’s Uncertainty Principle, which reveals the hybrid and extravagant behaviour of material and also affirms that the result of an experiment is only as accurate as the domain in which it is set. Concepts such as fact, uncertainty and material exploration are used by the artist in the creative process to test, measure and influence material. In this creative process, the body is sited as subject, as one that not only measures, but is measured against. When the body is added to a set of conditions, aimed to question material behaviour, the results prove unpredictable. Though material exploration and the appropriation of measuring through metaphor, the haptic and the tactile provides access and act as placeholders for the moments where material behaves in ways we cannot predict. AFRIKAANSE OPSOMMING: Vir die studie tot ’n Meestersgraad in Visuele kunste, ondersoek hierdie tesis die fisiese en filosofiese aspekte van meetbaarheid as konsep. Die studie is geposisioneer binne ‘n wetenskaplike filosofiese benadering tot materiaal. Binne hierdie raamwerk word oomblikke van ‘sekerheid’ beproef en die onbekende word geopenbaar. Dus, terme soos ‘akkuraatheid’ en ‘resultate’ word bevraagteken en getoets, asook hoe hierdie inligting geproduseer word deur oomblikke van ‘kans’ en ‘temperament’, eerder as wiskundige vergelykings of formules. As ‘n methode vir artististiese navorsing word daar gebruik gemaak van ’n voorbeeld van ‘n universele voorwaardelike verklaring soos; (x)(Px⊃Qx), wat dan dien as ‘n metafoor vir fisiese asook filosofiese kwessies vir meetbaarheid. Die gegewe stelling dui aan dat wat aan beide links en regs van die symbool ⊃ is, kan as verwissellende gegewes beskou word - onderhewig aan ‘n voorwaarde soos; ‘as … dan’. Hierdie simbool som hierdie navorsing op en mik om die verhouding tussen die ‘as’ en ‘dan’ te verken, asook die verhouding tussen dit wat bekend en wat onbekend is. Om materiaal te verken, deur die proses van meet en manipulasie, word aspekte soos ‘feite’, ‘wette’ en “quasiserial arrangements” ondersoek. Deur die bestudering van ‘n fisiese meetinstrument, naamlik die metre, asook die geskiedenis van die metrieke stelsel, wys hierdie tesis op die voortdurende soeke na meetbare akkuraatheid. Wat dit demonstreer, is hoe hierdie fisiese instrument ‘n ewig-veranderende aspek saamdra, en is daarvolgens gekoppel aan onakkuraatheid. Dus, hierdie inligting word slegs weerpeel deur middel van - en is akkurraat volgens en is die instumente wat beskikbaar is. Die instrument bepaal die resultaat. Deel van hierdie ondersoek verwys ook terug na Werner Heisenberg se ‘onsekerheidsbeginsel’ wat die onbekende en buitensporige gedrag van materiaal tentoonstel, asook hoe dit bevestig dat die uitslag van ‘n eksperiment sleg akkuraat is binne die konteks van die domein waarin dit afspeel. Konsepte soos ‘feite’, ‘onsekerheid’ en ‘materiaal verkenning’ word voortdurend deur die kunstenaar in sy kreatiewe proses getoets. Dit is juis in hierdie proses waar die meet en invloed van material ‘n groot rol speel. Die kunstenaar benader die liggaam as ’n onderwerp wat meet en waarteen gemeet word. Wanneer die liggaam saam met ‘n stel voorwaardes gevoeg word, word die gedrag van dit wat ondersoek word onbepaalbaar en word die onvoorspelbaarheid van material beklemtoon. Deur die aanwending van meet deur metafoor, vir die doeleinde vir ‘materiaal verkenning’, word die haptiese en die tasbare toegang tot material plekhouers vir die oomblikke waar materiaal onvoorspelbaar kan optree.

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Glover, B. W. "Tropical narratives : Studies in a fifteenth-century poetic of desire and writing." Thesis, University of Liverpool, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377593.

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This thesis seeks to re-evaluate the role of trope in English late-medieval poetic narratives. The main texts included in this study are The Floure and the Leafe, The Assembly of Ladies, Chaucer's Troilus and Criseyde, Lydgate's Temple of Glas, The Kingis Quair, Skelton's Bowge of Court and Garlande or Chapelet of Laurell, and The Isle of Ladies. Material drawn from other latemedieval texts is used for comparative and illustrative purposes. Study of these texts suggests that trope should be approached as a constitutive element of narrative structure, and so, while a particular use of familiar trope emerges in this study, the thesis also offers a methodology of reading which may be useful for understanding late-medieval narrative poems in general. One of the major issues discussed in the thesis is the relation of the individual text to a poetic discourse which is seen as pre-given and in determining relation to narrative structures. The thesis traces the emergence of a range of metaphors for the discussion of poetic and linguistic issues in narrative poems themselves. In particular, images of navigation are isolated as a major metaphorics of writing seen as an activity which engages with a problematics of the control of a pre-given discourse. Thus the thesis identifies the use made of trope, in a fifteenth-century poetic, to provide a comprehensive language for the discussion of meta-fictional and meta-linguistic issues. The introductory chapter examines the implications for fifteenth-century narrative of its response to an inherited (mainly) Chaucerian poetic discourse. The second section of this chapter also provides a study of the possible role of trope in narrative texts. The claim that trope is a constitutive element of narrative structures is tested by a reading of The Floure and the Leafe in section three of this chapter. In section four The Assembly of Ladies is studied as a text which exemplifies fifteenth-century narrative poems' selfconsciousness about the writing process. Chapter Two examines Chaucer's strategies towards lyric trope in Troilus and Criseyde, and then discusses Lydgate's reading of those strategies of The Temple of Glas. The objective of this chapter is to point out some of the different responses to the use of lyric tropes in poetic narrative. In Chapter Three The Kingis Quair is studied as a text which fictionalises the pleasure and confidence which may accrue from the 'mastery' or control of poetic discourse both past and present. In contrast, in Chapter Four, Skelton's Bowge of Courte presents a fiction of the anxieties of writing within a specific, prescribed poetic discourse. In this poem Skelton generates a narrative from the use of the typical anxieties of the conventional modesty topos. Skelton's Garlande or Chapelet of Laurell, provides a contrast to The Bowge for while it uses similar metaphors for its discussion of poetic issues, it constructs a fiction of poetic virtuosity; of over-confidence rather than high anxiety. Finally, in Chapter Five a study of The Isle of Ladies suggests that this text may stand as a comprehensive overview of fifteenth-century writers' knowing use of commonplace tropes and also of the relation of the individual text to its pre-given intertextually constituted, poetic discourse

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Wood, Matthew Stephen. "Aristotle and the Question of Metaphor." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32476.

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This doctoral dissertation aims to give a comprehensive and contextual account of Aristotle’s theory of metaphor. The dissertation is organized around the central claim that Aristotle’s definition of metaphor in Chapter 22 of the Poetics, as well as his discussion of it in Book III of the Rhetoric, commit him to what I call a vertical theory of metaphor, rather than to a horizontal one. Horizontal theories of metaphor assert that ‘metaphor’ is a word that has been transferred from a literal to a figurative sense; vertical theories of metaphor, on the other hand, assert that ‘metaphor’ is the transference of a word from one thing to another thing. In addition to the introduction and conclusion, the dissertation itself has five chapters. The first chapter sketches out the historical context within which the vertical character of Aristotle’s theory of metaphor becomes meaningful, both by (a) giving a rough outline of Plato’s critical appraisal of rhetoric and poetry in the Gorgias, Phaedrus, Ion, and Republic, and then (b) showing how Aristotle’s own Rhetoric and Poetics should be read as a faithful attempt to reform both activities in accordance with the criteria laid down by Plato in these dialogues. The second and third chapters elaborate the main thesis and show how Aristotle’s texts support it, by painstakingly reconstructing the relevant passages of the Poetics, Rhetoric, On Interpretation, Categories and On Sophistical Refutations, and resolving a number of interpretive disputes that these passages raise in the secondary literature. Finally, the fourth and fifth chapters together pursue the philosophical implications of the thesis that I elaborate in the first three, and resolve some perceived contradictions between Aristotle’s theory of metaphor in the Poetics and Rhetoric, his prohibition against the use of metaphors in the Posterior Analytics, and his own use of similes and analogical comparisons in the dialectical discussions found in the former text, the De Anima and the later stages of his argument in the Metaphysics. In many ways, the most philosophically noteworthy insight uncovered by my dissertation is the basic consideration that, for Aristotle, all metaphors involve a statement of similarity between two or more things – specifically, they involve a statement of what I call secondary resemblance, which inheres to different degrees of imperfection among things that are presumed to be substantially different, as opposed to the primary and perfect similarities that inhere among things of the same kind. The major, hitherto unnoticed consequence I draw from this insight is that it is ultimately the philosopher, as the one who best knows these secondary similarities, who is implicitly singled out in Aristotle’s treatises on rhetoric and poetry as being both the ideal poet and the ideal orator, at least to the extent that Aristotle holds the use of metaphor to be a necessary condition for the mastery of both pursuits. This further underscores what I argue in the first chapter is the inherently philosophical character of the Poetics and the Rhetoric, and shows the extent to which they demand to be read in connection with, rather than in isolation from, the more ‘central’ themes of Aristotle’s philosophical system.

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Fitzgerald, Heather. "Finesse into mess, entropy as metaphor in the queer poetics of Erin Mouré." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq31286.pdf.

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Pariser, Lili. "A Poetics of Space: Opening Up a World Through Vessel Metaphors in Modern and Contemporary Poetry." Oberlin College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1337099353.

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Todd, Kate Zazie. "Mapping poetic space : a psychological study of differences between tropes." Thesis, University of Nottingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325710.

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Tidwell, Christopher A. ""Mingling Incantations": Hart Crane's Neo-Symbolist Poetics." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001490.

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Karadas, Firat. "Imagination, Metaphor And Mythopoeia In The Poetry Of Three Major English Romantic Poets." Phd thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/3/12608579/index.pdf.

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This thesis studies metaphor, myth and their imaginative aspects in the poetry of William Wordsworth, Percy Bysshe Shelley and John Keats. The thesis argues that a comprehensive understanding of metaphor and myth cannot be done in the works of these poets without seeing them as faces of the same coin, and taking into consideration the role of the creating subject and its imagination in their production. Relying on Kantian, Romantic, and modern Neo-Kantian ideas of imagination, metaphor and myth, the study tries to indicate that imagination is an inherently metaphorizing and mythologizing faculty because the act of perception is an act of giving form to natural phenomena and seeing similitude in dissimilitude, which are basically metaphorical and mythological acts. In its form-giving activity the imagination of the speaking subjects of the poems studied in this thesis sees objects of nature as spiritual, animate or divine beings and thus transforms them into the alien territory of myth. This thesis analyzes myth and metaphor mainly in two regards: first, myth and metaphor are handled as inborn aspects of imagination and perception, and the interaction between nature and imagination are presented as the origin of all mythology second, to show how myth is something that is re-created time and again by poetic imagination, Romantic mythography and re-creation of precursor mythologies are analyzed. In both regards, poetic imagination appears as a formative power that constructs, defamiliarizes and re-creates via mythologization and metaphorization.

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SORRENTI, ANNA CARMEN. "POETICA DELLA SIMILITUDINE E DELLA METAFORA IN GASPARD DE LA NUIT DI ALOYSIUS BERTRAND : DALLA TEORIA ALL'APPLICAZIONE." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1289.

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Il nostro lavoro nasce dall’esigenza di voler delineare i confini tra metafora e similitudine al fine di distinguere il campo d’indagine di ognuna delle due figure. Il rapporto analogico che le caratterizza ha provocato nel tempo un’associazione costante tra i due procedimenti retorici che tendono, pertanto, ad essere sovrapposti. La nostra tesi si propone di dimostrare che seppur si tratti di due figure affini, similitudine e metafora si realizzano attraverso processi stilistici diversi. Questo studio presenta due grandi parti: una prima parte teorica e una seconda parte applicativa. La prima consta di tre capitoli: nel primo abbiamo esaminato le diverse definizioni che, nel corso degli anni, sono state assegnate alla similitudine e alla metafora; nel secondo, abbiamo presentato le teorie che, nel differenziare le due figure, hanno confuso, a nostro avviso, i loro campi d’indagine; nel terzo capitolo abbiamo analizzato e descritto il procedimento comparativo. Nella seconda parte, abbiamo applicato alla raccolta poetica Gaspard de la Nuit di Aloysius Bertrand, le analisi teoriche presentate nella prima parte del nostro lavoro. Per ogni testo poetico è stato affrontato uno studio di tipo linguistico e retorico: abbiamo analizzato le varie tipologie di similitudini e di metafora presenti in ciascun componimento. The purpose of this work has its origins in the necessity of defining the boundary between metaphor and simile in order to demarcate the analytical fields corresponding to the two figures. The analogical relationship that characterizes them has provoked over the course of time a constant association between the two rhetorical procedures which have thus tended to become overlapped. This thesis intends to demonstrate that even though treating of related figures, simile and metaphor are produced by means of different stylistic procedures. This study is divided into two main parts: the first theoretical and the second of practical application. The first part consists of three chapters: in the first are examined the diverse definitions that have been assigned over the course of time to simile and to metaphor; the second presents theories which, in differentiating the two figures, have only served to confuse the fields of inquiry; in the third chapter the comparative method is analyzed and described. In the second part of the thesis the theoretical analyses presented in the first part of the work are applied to Gaspard de la Nuit, a collection of poetry by Aloysius Bertrand. Each text is subjected to a linguistic and a rhetorical analysis, thus analyzing the various typologies of similes and metaphors present in each of the compositions.

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Pan, Lina. "Poetic Labor: Meaning and Matter in Robert Frost's Poetry." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1401.

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This thesis examines Frost’s conception of poetry as the labor of human value. It investigates how Frost consciously shaped his notions of “sound of sense” and metaphor, which he deemed fundamental elements of poetic labor, in contradistinction to the Modernist poetics of Eliot and Pound. The author closely examines a representative sample of Frost’s poetry and prose as critiques of Modernist poetic theory and its implications for what Frost deemed the essential human function of poetry. The thesis will interest scholars studying strains of English poetic thought that developed concurrently with and against Modernist poetic thought. More broadly, it will interest those who seek a serious and thoughtful challenge to Modernist literary trends that prevail even today.

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Wan, Kong. "The relationship between plant metaphors and poetic themes in the Shijing "Shi jing" zhi wu xing xiang yu ti zhi de guan xi /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B41547214.

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Sanfelice, Vinicius Oliveira. "METÁFORA E IMAGINAÇÃO POÉTICA EM PAUL RICOEUR." Universidade Federal de Santa Maria, 2014. http://repositorio.ufsm.br/handle/1/9129.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior This work intends to present the development of Ricoeur s theories of mimesis and representation, which he has built upon the concept of semantic innovation linked to metaphor. With Ricoeur, we followed the incorporation of Aristotle s mimesis ( bringingbefore- the-eyes ) and productive imagination (Kant s doctrine of schematism and free play concept) into the contemporary philosophy, drawing parallels with Husserl s phenomenology and with the analytic philosophy, through its lexicon (Wittgenstein s seeingas concept). We attempted to reassemble Ricoeur s theorization concerning the creation of poetic imagery and its practical importance to the redescription of reality and to art: the utopia and the creativity. In order to identify that creativity in Ricoeur s philosophy, we referred to the conflicts of opinion that surround metaphor, concept and imagination, pointing out the opposition between Derrida s ideas and Nietzsche s theory of intuitive metaphors (first metaphor) and presenting the cognitive aspects of poetic-creative imagination. The practical pertinence of this theory, as well as its aesthetic elements, is analyzed under the aegis of views of theorists who emphasized the formative role of imagination and metaphor (Jérome Cottin, Jean-Luc Amalric). Esta dissertação teve como objetivo geral mostrar o desenvolvimento das teorias mimética e imaginativa que Ricoeur formulou a partir do conceito de inovação semântica relacionado aos enunciados metafóricos. Seguimos, com Ricoeur, a inserção da mímesis aristotélica ( pôr sob os olhos ) e da imaginação produtora (doutrina kantiana do esquematismo e jogo livre ) na filosofia contemporânea, no diálogo com a fenomenologia husserliana e com a filosofia analítica através de seu vocabulário (o ver como de Wittgenstein). Procurou-se reconstruir a fundamentação ricoeuriana da produção de imagens poéticas, e sua importância prática na redescrição da realidade e na arte: a utopia e a criatividade. Entendemos que para mostrar essa criatividade dentro da filosofia de Ricoeur foi necessário fazer referência às disputas em torno da metáfora, do conceito e da imaginação, e acompanhar a disputa com Derrida acerca da tese de Nietzsche (as metáfora intuitivas originárias ), além de apresentamos os aspectos cognoscitivos da imaginação poético-criadora. A relevância prática dessa teoria, assim como os elementos estéticos encontrados nela, é discutida através dos comentadores que deram primazia ao papel constituinte da imaginação e da metáfora (Jérôme Cottin, Jean-Luc Amalric).

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uk, tom_lonie_tefl_teacher@yahoo co, and Thomas Christie Lonie. "Magic causality : the function of metaphor and language in the earlier verse, essays and fictions of Jorge Luis Borges, read as consitutive of a theory of generic incorporation." Murdoch University, 1997. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20100108.131010.

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Borges saw narrative as the bearer of universally re-combinable elements. Although these elements seem sequential, their essential formal integrity guarantees their rearrangement to generate new narratives. The ficción lives beyond its author. However, Borges ontological anxieties also have a life of their own that undermines the ficcións assimilative potential. By developing poetic and linguistic insights Borges creates immortal text through the construction of a symbolic repertoire. Each element of the repertoire has its genesis in the authors personal development. This history is archaeologised in the early poetry and mediated through a theory of metaphor and the readers interaction with the text. Borges sees no need for a Freudian reading theory. Instead he develops an antipsychological poetics. He enlists the reader as a willing participant in the text by a dual strategy of symbolic incorporation. Firstly, readers identify with characters through vicarious emotional prediction. Secondly, he refreshes the readers participation by presenting emblematic devices serving as sub-text to enhance symbolic participation. Together these strategies constitute a magic causality of negotiated textual interpretation continually operating in his narratives. But the discipline of magic causality also conceals a rhetoric of presence establishing counter-motivational effects to disturb symbolic incorporation at the level of genre. The dissertation extracts key features for scrutiny from Borges early literary theory and criticism, elaborating them into a general aesthetic programme. It examines biographical influences in shaping his critical and creative work. It problematises his texts from the point of view of his ideas about linguistics, their identity as contributions to the genre of the ficción, and the centrality of metaphor and analogy as interpretative strategies. I use a number of approaches for this enterprise, including biographical criticism (ontological preoccupations), substitutional analysis (temporal subjectivity), linguistic interpretation (theory of metaphor), literary criticism (readerly reception), structuralism (readerly incorporation), and deconstruction (rhetoric of suppression). The dissertation pragmatically investigates, and contests, Borges assimilative poetics of textual presence.

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Molin, Samuel. "L'éclosion de l'écriture métaphorique à l'aube de la littérature française : étude sur la métaphore dans les textes du XIIème siècle." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30037.

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La littérature en langue vernaculaire du XIIe siècle cristallise une évolution lente dans les styles d'écriture : une simple lecture permet de constater l'absence ou presque de métaphores dans les chansons de geste, alors que des expressions métaphoriques, originales et diversifiées, ornent en nombre non négligeable les romans et les lais. Les arts poétiques médiolatins des XIIe et XIIIe siècles proposent leur définition de la métaphore, se situant dans la lignée des textes théoriques de l'Antiquité ou au contraire privilégiant la rupture. Ce bouillonnement réflexif caractérise l'engouement de l'époque pour le tour métaphorique. L'apparition et le développement de la littérature romanesque entraînent, dans son sillage, des modifications dans les manières de concevoir l'écriture : le traitement de certains motifs littéraires, au premier rang desquels la passion, ainsi que des contraintes nouvelles liées à la versification favorisent le recours aux métaphores. Des influences extérieures jouent également un rôle dominant : la littérature médiévale s'inspire de la poésie élégiaque latine, qui se complaît dans l'utilisation d'images amoureuses, mais également de la lyrique d'oc, qui offre une vision différente de la passion, fondée sur la réciprocité A slow evolution concerning the writing styles has taken shape in vernacular literature of the 12th century. A simple reading reveals that whilst hardly any metaphors are used in epic poems, original and varied figures of speech abound in novels and lays. The medieval Latin poetic arts of the 12th and 13th centuries have their own definition of metaphor. They either follow the line of ancient theoretical texts or choose to recreate it. This ferment of ideas illustrates the infatuation with metaphors which prevailed at that time. The appearance and the subsequent development of novelistic literature have caused writing modifications : the way some literary motifs –first and foremost passion- and new restraints due to versification encourage the use of metaphors. External influences also play a major part : medieval literature is inspired by Latin elegiac poetry -which indulges in love images- and by troubadour poetry, the latter offers another point of view about passion, based on reciprocity

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Lobo, Ariana Nunes. "Geografia da criação: descrição da metáfora na poesia de Manoel de Barros." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5353.

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Submitted by Erika Demachki (erikademachki@gmail.com) on 2016-03-17T17:10:10Z No. of bitstreams: 2 Dissertação - Ariana Nunes Lobo - 2015.pdf: 1155750 bytes, checksum: 3a92c2155e6b49c7dca25ecf7acad76e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2016-03-17T17:12:43Z (GMT) No. of bitstreams: 2 Dissertação - Ariana Nunes Lobo - 2015.pdf: 1155750 bytes, checksum: 3a92c2155e6b49c7dca25ecf7acad76e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Made available in DSpace on 2016-03-17T17:12:44Z (GMT). No. of bitstreams: 2 Dissertação - Ariana Nunes Lobo - 2015.pdf: 1155750 bytes, checksum: 3a92c2155e6b49c7dca25ecf7acad76e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-11-25 This study aims to describe the writing process of poetic formula of the poet Manoel de Barros through the metaphorical constructs. It is true that there is a pattern in Barros poetry, which says that there is a wire inner conductor that concludes all the verses in the same way. This stylistic pattern is what we have in this study as "poetic formula." In Manoel de Barros, the metaphor is given by A) fragmentation of phrases, B) chaotic assembly lines, C) semantic break, D) breach of expectation through the illogicality, and E) absence of causal similarity between the elements brought into relation. The metaphor in Barros is generally the manifesto of the service of man's dehumanization of the complaint and the objectification of the world. The thematic strategies of poetic composition in Barros are subjugated to the metaphor, like childhood and nature, for example. The peculiar mode of composition of metaphors in the poet's what gives it its style, it is the flagship of his poetic formula, hence its importance. Thus, this research aims to investigate the metaphors manoelinas the elements that form his poetic formula. O presente estudo pretende descrever o processo de composição da fórmula poética do poeta Manoel de Barros por meio das construções metafóricas. É certo que existe um padrão na poesia de Barros, algo que diz da existência de um fio condutor interno que arremata todos os versos de modo similar. Esse padrão estilístico é o que se tem neste estudo por “fórmula poética”. Em Manoel de Barros, a metáfora se dá por meio de A) fragmentação de frases, B) montagem caótica de versos, C) ruptura semântica, D) quebra da expectativa por meio do ilogismo, e E) ausência de semelhança causal entre os elementos postos em relação. A metáfora em Barros está, em geral, a serviço do manifesto, da denúncia da desumanização do homem e da coisificação do mundo. As estratégias temáticas de composição poética em Barros estão subjugadas à metáfora, como a infância e a natureza, por exemplo. O modo peculiar de composição das metáforas no poeta é o que confere a ele seu estilo, é o carrochefe de sua fórmula poética, daí sua importância. Desse modo, essa pesquisa pretende investigar nas metáforas manoelinas os elementos que formam sua fórmula poética.

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Libral, Florent. "Une forme d’écriture entre rhétorique, savoirs optique ou perspectif, et religion : la similitude visuelle (1600-1666)." Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20118.

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La similitude visuelle peut être définie, dans le cadre de l’écriture religieuse – rhétorique et poétique – en France de 1600 à 1666, comme une forme de comparaison développée en parallèle, qui met en relation les phénomènes de la lumière et de la vision d’une part, et un propos religieux de l’autre. Elle ne cesse, depuis la fin des années 1610, de perfectionner ses composantes scientifique et rhétorique, en même temps qu’elle s’adapte à l’évolution des sensibilités théologiques, et atteste ainsi d’une remarquable écoute de la société. Pourtant, elle se raréfie jusque dans les années 1660. L’objet de ce travail est donc de chercher à comprendre comment une figure, fondant son propos sur une donnée scientifique actualisée avec énergie et constance, a pu connaître un déclin aussi soudain. Malgré ses refondations successives sur un savoir optique de plus en plus rigoureux, la similitude visuelle meurt à petit feu, car le postulat d’une ressemblance entre les réalités matérielles et spirituelles, sur lequel elle repose, est doublement en contradiction avec son temps. En effet, la similitude postule que la science peut servir à la religion alors que les deux domaines s’éloignent, et suppose que le monde est empli de signes du divin, alors que la théologie elle-même, sous l’effet de tendances augustiniennes profondes, renonce à cette idée. Ceci lui impose au fil de ses rénovations de se dissocier progressivement de son objectif premier, la connaissance de Dieu, au profit de la connaissance de l’homme ; dans le même temps, l’évolution artistique tend à bannir l’érudition, désormais ressentie comme pédante. C’est ainsi que progressivement, elle devient un outil de moraliste religieux, prélude à la sécularisation et à la disparition de la figure The “similitude visuelle” (“visual simile”) is a form of comparison – written as a parallel – important in religious prose and poetry in France between 1600 and 1666. This comparison creates a link between physical phenomenons of light and vision on one side, and a religious matter on the other side. This figure keeps improving its scientific and religious components, and at the same time follows the evolution of Science, Rhetorics and main theological currents, which means the “similitude visuelle” is open to its society. However, the “similitude visuelle” gets scarce until the 1660 decade. This work aims at understanding why a figure which is able to renew its scientific foundations has to face such a decline. In reality, the “similitude visuelle” is dying because the mere idea of a likeness between material and spiritual realities is in contradiction with the evolution of Seventeenth Century Culture. As a matter of fact, authors who use this form believe that the science of Optics can be useful to religion, whereas the two domains are getting loose; the “similitude visuelle” assumes that the world is full of signs of the divinity, whereas theology, under a strong Augustinian current, is giving up this idea. Gradually, similitude must leave its first aim, which was God’s knowledge, in order to become a tool for religious moralists, which is the first step towards the secularisation and the death of this figure

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Sperens, Monica. "Metafor - Tao : En komparativ studie i metaforik mellan prekonfuciansk tanketradition och svensk nutid." Thesis, Södertörns högskola, Institutionen för kommunikation, medier och it, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-17298.

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Metaphors and their use as a rethorical vehicle are examined. Two texts, one in Chinese and one in Swedish, are compared and analyzed to determine the extent to which the associations they create successfully capture the author's intent. Seecondarily, a shift from the assumptions that rhetorical analyses often assume (read: antiquity and Aristotles) to a more abstract internal human platform is suggested. Neurological and cognitive research is cited in support of this shift. The essay examines the question: How can metaphoric contribute to conveying the communicator's intention? By comparing metaphorics used by an historical Chinese rhetor with those used by a contemporary Swedish rhetor. In the former, Zuozhuan describes how Ji Zha commented on Shijing in 770-430 BCE. In the latter, Johan af Donner defends himself in court in 2010. The study culminates in recommendations for a more poetic approach to metaphor. Utgångspunkten för föreliggande uppsats är att undersöka metaforik. Syftet med studien är att undersöka användningen av metaforen som ett retoriskt medel, i ett kinesiskt exempel och i ett svenskt exempel, och att jämföra dem, samt att resonera kring vilka associationsfält dessa skapar och om de är framgångsrika eller inte. Sekundärt är det också uppsatsens syfte att föreslå en förflyttning av den plattform retoriska analyser ofta utgår ifrån (läs antiken och Aristoteles) till en mer abstrakt inre mänsklig plattform. Studien tar stöd i neurologisk och kognitiv forskning i detta. Uppsatsens frågeställning är: Hur kan metaforik bidra till förståelse för avsändarens intention? Studien jämför metaforer som används av en retor i en tidig kinesisk situation; Zuozhuan berättar om hur Ji Zha kommenterade Shijing, 770-430 f.v.t. och en retor från en svensk nutida situation; Johan af Donner försvarar sig i tingsrätten 2010. Studien mynnar ut i rekommendationer till ett mer poetiskt förhållningssätt till metaforik.

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McGrath, Barbara Joan Getsi Lucia Cordell. "Journeys toward the communal metaphor and the construction of poetic narrative in the poetry of Ellen Bryant Voigt, Eavan Boland, and Adrienne Rich, with implications for a pedagogy of communal voice in writing /." Normal, Ill. Illinois State University, 2000. http://wwwlib.umi.com/cr/ilstu/fullcit?p9986987.

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Thesis (Ph. D.)--Illinois State University, 2000. Title from title page screen, viewed July 31, 2006. Dissertation Committee: Lucia C. Getsi (chair), William W. Morgan, Cynthia A. Huff. Includes bibliographical references (leaves 182-189) and abstract. Also available in print.

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Holmgren, Caicedo Mikael. "A Passage to Organization." Doctoral thesis, Stockholm : School of Business, Stockholm University, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-676.

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Brogly, Marie-Noëlle. "Pierre Reverdy : lyrisme de la réalité : poétique du visuel." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3413.

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This thesis aims to provide the first complete study of the poetics of Pierre Reverdy, who, although famous and influential during his lifetime, has not been widely published or researched. This thesis hopes to change this, as his complete works are just now being republished. The first chapter lays the basis for his conception of reality as something in which man is trapped, and which calls for a distance that, in Reverdy's eyes, only poetry can offer. His association of the image and lyricism, is presented and analysed. The second chapter aims to provide a linguistic understanding of the poetic image called for and devises the new concept of “illumination”, to give an account of the phenomenon at work in his verse. The third chapter focuses on lyricism, as Reverdy tries to reinvent it for the twentieth century: independent of the self, dealing only with expressing the affective tonalities of the poet and acting as a catalyst for the image. The last chapter defines the visual qualities of Reverdy's poetry by first re-examining the title of cubist poet that had been attached to him, before focussing on the many forms that the image takes in his work (imagery, but also typography, mental imagery), and finally providing the first analysis of the relationship between paintings and poems in the famous Livres d'artistes that the poet created, in collaboration with Picasso, Matisse, Juan Gris and others. It establishes that while the poems can indeed be read without the illustrations with which they were conceived, these editions deprive the reader of the opportunity to remind himself that poetry is an experience rather than a quest for meaning and also of an introduction to the unique visual qualities of Reverdy's poetry.

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Jelbring, Stina. "A Decontextual Stylistics Study of the Genji Monogatari : With a Focus on the "Yûgao" Story." Doctoral thesis, Stockholms universitet, Institutionen för orientaliska språk, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-38006.

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The dominant part of the research on the “Yûgao” (The Twilight Beauty) story of the Japanese eleventh-century classic the Genji Monogatari (The Tale of Genji) is philological and often excludes a general literary analysis. This story has also been related to Japanese and Chinese literary influences, thereby placing the text in its literary context. The present study is an attempt to relate it more to theories to which it has hitherto been unrelated and thereby formulate a descriptive stylistics in a decontextual perspective. This aim also includes a look at how the theories confronted with the “Yûgao” story may be affected. First I introduce the problematics of context versus decontext by means of a survey of metapoetical texts about the monogatari (tale, narrative) genre with special regard to the Genji Monogatari. Next I analyze the characters and the setting, primarily using a narratological method. This is followed by an analysis of the story’s themes and motives. Chapter 5 looks at compositional elements, while the starting-point for the succeeding chapter is the interpretation of the “Yûgao” story as more or less a fairytale, and thus not as advanced a narrative as the latter part of the work. I shall, in contrast, argue that there are quite a few aspects of this story that do not fit into the model of the folktale. In Chapter 7 decontextualization as a concept turns from the story as such to address another concept, namely metaphor. Here the meaning of metaphor is expanded in order to include concepts that are not necessarily seen as such. Subsequently, I investigate the symbolic system surrounding the moonflower (yûgao) image. Lastly, the concept of decontext is taken a step further to survey how the genre of the Genji Monogatari has been transformed in the process of translation into the Tale of Genji. The main conclusion is that the “Yûgao” story combines tragic themes with comic motifs to build a symbolic narrative with characters hovering between roles.

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Fries, Katherine. "Ariadne’s Thread - memory, interconnection and the poetic in contemporary art." University of Sydney, 2008. http://hdl.handle.net/2123/5709.

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Master of Visual Arts This Dissertation explores the metaphor of Ariadne’s thread in terms of interconnection, when an element from the everyday is used as a locus linking broader concepts of time and space. Such experiences and associations are reflected in the work of Louise Bourgeois, Eva Hesse, Doris Salcedo, Lucio Fontana, Richard Tuttle, Mona Hatoum, Simone Mangos, Anya Gallaccio and Yoshihiro Suda. In relation to my own work, the metaphor of interconnecting thread allows a sense of freedom and journey of discovery. My studio and related research are closely aligned in developing my understanding of interconnection, through my studio process of making and continuing experiences of looking at and interpreting others artists’ work.

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Rodriguez, Perez Enrique. "Métaphore et différence derridienne : écritures de la poésie de José Lezama Lima : l'image de celui-qui-resurgit." Thesis, Tours, 2015. http://www.theses.fr/2015TOUR2002/document.

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La thèse se propose de caractériser l’image de celui-qui-resurgit (resurrecto) dans l’oeuvre du poète cubain José Lezama Lima, en suivant une double approche phénoménologique et déconstructiviste. En prenant comme point de départ les concepts de différence, de métaphore et d’image, l’analyse se déploie en trois parties : esquisse d’une voie phénoménologique susceptible de rendre compte des éléments de signification les plus caractéristiques de l’oeuvre du poète ; approfondissement de la poétique lézamienne et plus particulièrement de l’image du resurrecto; et réflexion générale sur l’acte de lecture à partir d’une expérience de prise de contact avec la poésie de Lezama par un public de jeunes lycéens de Bogotá, Colombie This approach to Cuban poet José Lezama Lima’s work is meant to characterize the image of the Resurrecto’s poetic art and poetry from the phenomenological and deconstructive perspectives, and particularly, from the ideas of difference, metaphor, and image. In order to achieve this purpose, a three-stage process is followed. Firstly, a phenomenological path that considers general aspects of the poet’s work is sketched. Secondly, Lezamian’s poetic art is deepened, particularly into the resurrecto’s image. And finally, the effects of Lezama’s poetry on readers who experienced some of the poet’s texts though a reading held in an educational institution in Bogota, Colombia are shown

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Le, Gall Thierry. "La poétique du voile de Fra Angelico à Nicolas Poussin." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3100.

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Les voiles du Sacrifice d’Iphigénie de Timanthe et du Rideau de Parrhasios problématisent le regard antique et font naître un au-delà qui stratifie la représentation. Le silence qu’ils introduisent dans l’image génère une activité « phantastique » fondatrice d’une poéticité visuelle. La Pala di San Marco adapte à un espace pictural unifié la structure du Tabernacle des Linaioli déjà empruntée au Tabernacle mosaïque. Séparant des espaces de sacralité croissante qui font écho à la lecture exégétique en vigueur au Couvent, les voiles y épaississent l’espace et le sens de l’œuvre, exigeant à chaque étape une transformation du regard. L’exégèse identifiant Marie à l’Arca Dei, le XVe siècle développe autour d’elle diverses formules tabernaculaires susceptibles d’annexer l’espace profane du spectateur. Au fond des Annonciations du Quattrocento le voile révélait le thalamus virginis, ventre métonymique de la Vierge. Cette symbolique s’effrite quand la scénographie se charge de l’évocation du Mystère. Le voile prend des accents métapicturaux ou révèle le vulgaire, la vanité, l’intime, la chair. Il les sacralise alors comme il avait sacralisé l’Arca Dei ou la figure de l’empereur. Aléatoire, il ouvre les œuvres à de surprenantes transgressions, comme l’érotisation des Virgo lactans. Les métaphores visuelles se multipliant pour évoquer ce qui pose problème à la représentation, le voile finit par prendre en charge l’image de ce qu’il cache. L’émergence du caché s’assume comme projet de l’œuvre. Contournant le précepte albertien, ce commerce avec l’invisible relie le motif à l’antique approche, ravivée par La Pléiade, d’une poésie qui n’a d’autre raison que d’en-visager l’ineffable Veils in Sacrifice of Iphigenia by Timanthes and Curtain by Parrhasius signify a problematisation of the Antiquity’s gaze and engender a hereafter which stratifies representation. The silence these works introduce within the image generates a phantastic activity, the founding basis of a visual poetry.Pala di San Marco adapts to a unified pictorial space the structure of Tabernacolo dei Linaioli already borrowed from the Tabernacle of Moses. Separating spaces of increased sacredness and in accordance with the exegetic reading, veils thicken the space and the meaning of the masterpiece, demanding at each stage a transformation of the viewers’ gaze.The exegesis identifying Marie to Arca Dei, the 15th century develops around her numerous forms which are epigones of the Tabernacle’s and become liable to encompass the viewer’s profane space. Deep within Annunciations of the Quattrocento, the veil revealed the thalamus virginis, metonymical belly of the Virgin Mary. This symbolism becomes eroded when the stage design evokes Mystery. The veil conveys metapictorial allusions or reveals vanity, intimacy, flesh. It « sacralizes » them as it did of Arca Dei or of the emperor. Unpredictably, all works become opened up to surprising transgressions, such as the eroticisation of Virgo lactans. Multiple visual metaphors alluding to what is problematic about representation, the veil supports the image of what it is hiding. The surfacing of the concealed becomes the artwork in itself. Skirting around Alberti’s precepts, this trade with the invisible connects the motif with the ancient concept, revived by La Pléiade, of a poetry whose motive is no other than to en-visage the ineffable

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Oliveira, Rita de Cássia. "O poema O Guesa, de Sousândrade, à luz da hermenêutica de Paul Ricoeur." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/11804.

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Made available in DSpace on 2016-04-27T17:27:28Z (GMT). No. of bitstreams: 1 Rita de Cassia Oliveira.pdf: 727213 bytes, checksum: f30d8eb97ac55684b842083ec2899a65 (MD5) Previous issue date: 2009-04-22 The present philosophical work bears the title The O Guesa poem by Sousândrade, in light of Paul Ricoeur s hermeneutics and intends to be an interpretation which has as paradigm the Paul Ricoeur s Phenomenological Hermeutics with respect to showing the meaning of the present existence in the symbolism of poetic foundation. I thematize the question of poetic language in its narrative aspect in the O Guesa poem and its correlation with the pertinent literature and philosophy to highlight the metaphoricity as a poetic language condition because it is constituted in a differentiated mode of thinking the world. Ricoeur turns to Aristotle Poetics and Rhetoric works as a starting point of his investigation on the significance of metaphor power when permitting that something is said indirectly by the joining of disconnected images having, nevertheless, an enclosed truth. I follow Ricoeur s same procedure in La métaphore vive, and look upon Aristotle for an understanding about the theory of metaphor in adequation to the analysis of the O Guesa poem. The development of the study reaches a correlation between the hermeneutic and the theory of narativity as to the interpretation of the act of narrating as an origin of rationality that tells actions and events according to an ordering which is characterized as the machination plot. Ricoeur s books that sustain this survey are, chiefly, La mémoire, l histoire, l oubli, Du texte à action and Temps et récit which reveal Ricoeur s reflection on the narrative identity as resulting from the interweaving of history with fiction. The narrative identity, a theme developed in Soi-même comme Un Autre, requires that Ricoeur imagine the subject in his interpersonal and institutional reflexives, bringing forth ethics and moral as indispensable knowledge for a philosophy which recognizes literature as being a vast laboratory of human experience O presente escrito filosófico tem como título O poema O Guesa, de Sousândrade, à luz da Hermenêutica de Paul Ricoeur e pretende ser uma interpretação que tem como paradigma a Hermenêutica Fenomenológica de Paul Ricoeur no que visa o mostrar do sentido da existência presente no simbolismo da criação poética. Tematizo a questão da linguagem poética em seu aspecto narrativo no poema O Guesa e a correlação deste com a filosofia e a literatura que lhe são pertinentes, para destacar a metaforicidade como uma condição da linguagem poética por se constituir num modo diferenciado de pensar o mundo. Ricoeur recorre a Aristóteles, propriamente às obras Poética e Retórica, como ponto de partida da sua investigação sobre o poder de sentido da metáfora ao possibilitar que algo seja dito de modo indireto pela junção de imagens descontínuas possuindo, entretanto, uma verdade contida. Sigo o mesmo procedimento de Ricoeur em La métaphore vive, e busco Aristóteles um entendimento acerca da teoria da metáfora em adequação com a análise do poema O Guesa. O desdobramento desse estudo alcança a correlação entre hermenêutica e teoria da narratividade quanto à interpretação do ato de narrar como originário de uma racionalidade que conta ações e acontecimentos segundo uma ordenação que se caracteriza como tessitura da intriga. Os livros de Ricoeur que fundamentam essa investigação são, mormente, La mémoire, l histoire, l oubli, Du texte à action e Temps et récit que revelam a reflexão de Ricoeur sobre a identidade narrativa como resultante do entrecruzamento da história com a ficção. A identidade narrativa, tema desenvolvido em Soi-même comme un Autre, exige que Ricoeur pense o sujeito em suas mediações reflexivas interpessoais e institucionais, fazendo aparecer a ética e a moral como conhecimentos imprescindíveis para uma filosofia que reconhece ser a literatura um vasto laboratório de experiência humana

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Padovani, Delphine. "Le théâtre du monde chez les auteurs dramatiques contemporains francophones. Valère Novarina, Pierre Guyotat, Didier-Georges Gabily, Olivier Py, Joël Pommerat, Daniel Danis." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30029/document.

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Cette thèse porte sur les caractéristiques du théâtre du monde telles qu’elles se manifestent dans différentes œuvres dramatiques contemporaines francophones. Il s’agit d’envisager sept pièces de ce répertoire comme autant d’images du monde, dans la mesure où elles convoquent les emblèmes de la vie terrestre : humaine, animale, végétale, et problématisent leurs interactions dans un espace-temps universel. Dans une partie introductive, on rassemble et commente les principales contributions universitaires à la réflexion sur la notion historique de théâtre du monde. Dans la partie principale, on observe les prolongements contemporains de la métaphore à travers l’étude des pièces du corpus. Une présentation générale des moteurs et motifs d’écriture des dramaturges introduit chaque analyse de texte, basée sur une grille de lecture calquée sur les catégories constitutives du drame : personnages, espace et temps, actions, didascalies. Le corps de la thèse est ainsi conçu comme l’exploration de sept déclinaisons du théâtre du monde, partant de la représentation la plus abstraite pour aboutir à la plus organique. Une synthèse boucle ce parcours en soulignant que les pièces dépendent de trois modèles de composition, déterminant autant de combinaisons des catégories dramatiques. Cette classification dévoile enfin l’ambition qui génère chaque projet d’écriture. En conclusion, il apparaît que le théâtre du monde dont on s’accorde généralement à penser qu’il est un topos daté évoquant la théâtralité de la vie humaine, est un cadre générique assez fort pour résister à la poétique du drame contemporain, assez vaste pour accueillir les inventions dramaturgiques les plus singulières This thesis deals with the characteristics of the theatre of the world metaphor, as they appear in several contemporary french-speaking plays. Seven plays have been selected as images of the world, since they summon various emblematic elements of life on earth: humans, animals and flora, and emphasize their interaction in a universal surroundings. Firstly, the principal academic contributions concerning the historical notion of theatre of the world are gathered and commented. The main part of the research consists of the demonstration of the metaphor's contemporary extensions, through the study of the corpus. The analysis of each play is preceded by a presentation of its author's writing motivations and motives. Then, the play itself is examined carefully with the help of a reading grid which focuses successively on the dramatic categories : characters, space and time, actions, stage directions. Thus, the thesis's body is built as an exploration of seven variations of the theatre of the world, beginning with the most abstract one and leading to the most organic one. A synthesis ends this journey, pointing out that the plays match three composition patterns, which induces many combinations of the dramatic categories. This classification unveils the ambition at the origin of each writing project. In conclusion, it appears that the theatre of the world, generally considered as an old topos which refers to the theatrality of human life, is a framework strong enough to stand up to the poetics of comtemporary drama, and vast enough to house the most singular dramaturgic inventions

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Segretain, Alexandre. "La connaissance poétique chez Proust : théorie et pratique de l’image dans À la recherche du temps perdu." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040014.

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La connaissance poétique est l’appréhension nouvelle du monde sur un mode familier. Elle apparaît à travers la subjectivation de l’objet : le sujet projette sur l’objet ce qu’il en perçoit mais aussi sa propre subjectivité ; il en forme une connaissance subjectivée. Dans la Recherche, la théorie de l’image est une théorie de la connaissance poétique du monde restituée par l’écrivain dans l’image. En mettant en relation deux objets dans l’image, Proust reproduit le rapprochement du sujet avec le monde qu’est la subjectivation. On peut ainsi distinguer les images proustiennes selon les différents « cercles familiers » qu’elles constituent. Ils expriment différentes formes de familiarité avec le monde : la parenté (pour la ressemblance), le voisinage (pour la contiguïté) et l’affinité (pour la transposition). La connaissance poétique se restitue aussi à travers l’écriture de l’image. Le style manifeste une vision plus générale du monde qui imprègne chaque subjectivation. Les images proustiennes révèlent deux esthétiques principales. L’une est baroque, fondée sur l’imagination : elle évoque l’enfance et transmet une conception de la vie joyeuse et légère. L’autre est romantique, lyrique, et montre un cœur souffrant. À travers l’image opère donc un rapprochement général (entre objet et sujet, entre les composantes de l’image, entre deux visions du monde), caractéristique de la connaissance poétique, mais aussi un rapprochement particulier entre Proust et son lecteur. L’image proustienne utilise notamment pleinement les mécanismes d’intersubjectivité de l’esprit. En rendant ainsi la connaissance poétique, l’image fait de la Recherche l’œuvre de l’intime Poetic knowledge is the new grasp of the world on a familiar way. It appears through the subjectification of the object: the subject projects onto the object his perception of it and also his own subjectivity; he develops a subjectified knowledge. In the Recherche, theory of image is a theory of the poetic knowledge of the world, translated by the writer in the image. By linking two objects in the image, Proust reproduces the reconciliation of the subject with the world that is subjectification. One can distinguish the Proustian images by the various "familiar circles" they constitute, which show various forms of familiarity with the world: kinship (for resemblance), neighborhood (for adjacency), and affinity (for transposition). Poetic knowledge also appears through the writing of the image. The style shows a more general worldview that permeates every subjectification. The Proustian images reveal two main aesthetics. One is baroque, based on the imagination: it evokes childhood, and transmits a joyful and carefree view of life. The other one is romantic, lyrical, and shows a suffering heart. Through the image thus operates a general reconciliation (between object and subject, between the components of the image, between two worldviews), which is a feature of poetic knowledge, but also a special connection between Proust and his reader. Especially, the Proustian image fully uses the mechanisms of intersubjectivity of the mind. By rendering poetic knowledge, the image makes of the Recherche the work of intimacy

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Brannon, Katrina. "Une approche cognitive de la langue émotionnelle dans l’œuvre de John Keats." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL133.

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Cette thèse présente une analyse linguistique d’une sélection de poèmes de John Keats, et plus précisément celle de l’expression et de la verbalisation de l’émotion à travers le langage dans les vingt-six poèmes qui composent le corpus poétique et qui constituent le point de départ de cette recherche. L’approche linguistique privilégiée est une approche cognitive, basée sur les théories de la linguistique cognitive, de la grammaire cognitive, et de la poétique cognitive. La théorie de la métaphore et de la métonymie conceptuelles joue également un rôle important dans les analyses poétiques et grammaticales présentées dans cette thèse. L’émotion est conçue comme embodied (incarnée). Son étude s’appuie sur les travaux des cognitivistes, sur la philosophie et sur les recherches en neurobiologie. L’objectif de cette thèse est d’examiner les manières dont l’émotion s’exprime au sein de la poésie keatsienne par une interrogation approfondie de la langue elle-même, en partant donc du principe que les éléments lexicaux et grammaticaux – et leur signification – qui composent les poèmes s’avèrent essentiels pour bien rendre compte de la traduction poétique de l’expérience émotionnelle This thesis presents a linguistic analysis of a selection of poems by John Keats: specifically, the expression and verbalization of emotion by way of language the twenty-six poems that compose the poetic corpus upon which this research is founded. The linguistic approach taken is a cognitive approach, based on the theories of cognitive linguistics, cognitive grammar, and cognitive poetics. Conceptual Metaphor and Metonymy Theory also play an important role in the poetic and grammatical analyses. The approach concerning emotion is an embodied one, based in language, philosophy, and with support from neurobiological research. The goal of this thesis is to examine the ways in which emotion is expressed within Keatsian poetry by a close interrogation of the language itself, thus holding the view that the lexical and grammatical elements—and their semantics—that compose the verses and poems themselves are essential to the salience of the poetic rendering of emotional experience

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Garnaud, Delphine. "Les mutations de la rhétorique dans l'oeuvre de Guillevic." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2013. http://tel.archives-ouvertes.fr/tel-01015622.

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Chez Guillevic, le statut de la rhétorique est paradoxal. Toute l'œuvre est traversée par un impératif des choses et du réel qui s'accompagne d'un vœu de simplicité. Cette poésie, qui se voit rappelée à l'ordre du concret, se méfie d'une rhétorique qui viendrait éclipser la réalité des choses, ou accroître la distance entre ces deux pôles, que sont l'expérience du monde et sa mise en mots. Les poèmes, denses et resserrés sur eux-mêmes, se présentent alors manifestement comme un défi à la rhétorique. Pourtant, nous n'assistons pas à une éviction de la notion, mais plutôt à un ensemble de mutations, qui supposent une subrogation des valeurs la définissant. En effet, si Guillevic passe pour un poète qui se serait spontanément tourné vers le monde et vers les objets, ce rapport au réel, au départ, n'a rien d'euphorique. Il reste à construire car le monde se rétracte. Il faut retrouver une force dans le langage ; une force agissante. Se méfier d'une rhétorique éloquente et ornementale revient alors à inscrire dans le poème une tension qui fait du langage un support solide auquel se raccrocher ; les figures ne sont plus de l'ordre de la figuration mais de celui de la mise en rapport. On assiste donc à des processus de relittéralisation et de défiguration du langage, ce qui fait qu'il n'est plus question d'une rhétorique de surface, mais d'une rhétorique fondamentale, qui passe par un engagement de l'être dans le langage. Et comme il s'agit toujours de chercher à faire l'expérience du monde, plutôt que de s'obstiner à lui trouver un sens, la rhétorique est alors dissociée de ces notions de conceptualité, de représentation et de signification qu'elle a tendance à véhiculer. Enfin, chez Guillevic, se méfier de la rhétorique, c'est aussi remplacer la métaphore par l'ellipse et instaurer dans le poème un creux, ou un entre-deux, qui, sans pour autant annuler ce constat d'une inadéquation fondamentale entre le langage et la réalité, ne se présente pas moins comme le lieu où peut advenir une dimension neuve et originelle du sujet, du langage et du monde.

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Foloppe, Ganne Régine. "Baudelaire et la vérité poétique." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30066.

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Notre hypothèse de travail est la suivante : sous le couvert d’un pacte de fausseté et de jeu, Baudelaire met en œuvre le passage vers une poésie qui, pour s’interroger désormais profondément sur elle-même (fondements, référents, métamorphoses, essence et nécessité), exige et engendre sans cesse son foyer propre de vérité, au-delà de tout système. Ainsi, à la différence de ses prédécesseurs, le poète ne fait plus porter principalement son attention, ses efforts, ses doutes et soupçons, sur la portée lisiblement et socialement constructive de ce qu’il écrit, mais sur le rapport entre une apparence poétique ou artistique qui se tient (la figure, l’image) et le tréfonds de l’homme, soit un certain effondrement. La perspective esthétique et morale que nous cherchons donc à définir dans l’œuvre baudelairienne interroge le lien de la parole avec celui qui l’émet d’une part, et celui qui la reçoit d’autre part : la mise en cause de la langue en tant que vecteur effectif est donc posée, ainsi que la recherche anxieuse qui l’accompagne. À la fois nés et déjà distanciés du Romantisme, ce nouveau point de mire et cette réflexivité libèrent, exacerbent et menacent le poétique : c’est ainsi qu’à travers les motifs de l’hypocrisie, du mensonge, du masque, et de l’art lui-même, le poète défie cet idéal au fur et à mesure qu’il l’initie, tout en vivant une véritable passion poétique dans laquelle il s’investit et se consume, corps et esprit, non sans une forme d’intégrité. Tels sont les paradoxes envisagés. En quels termes peut-on parler de vérité poétique dans l’œuvre de Baudelaire ? En extrait-il l’idée vers un déploiement et une postérité assurément fertiles, ou bien l’étouffe-t-il dès sa source dans la clairvoyance qui le caractérise ? Une telle lucidité peut-elle travailler contre l’authenticité du geste artistique ? Où, quand et comment se joue donc le vrai du poème ? Pourquoi et vers quoi ? En quoi l’œuvre trouve-t-elle à travers ce fil une cohérence particulièrement éclairante en tant qu’initiatrice de la modernité ? Mais également, avec quelles limites ? Comment et pourquoi le sens poétique peut-il et doit-il échapper au souci dialectique, donc se jouer pareillement des travestissements et de toute adhérence systématique - notamment d’une fidélité à toutes les évidences de gravité ? Il s’agit donc de tenter de comprendre en quoi le poétique, à partir de Baudelaire, et conséquemment à son travail, dans les transports et substitutions qu’il suppose, dans son improuvable et sa mystification, mais également dans la rigueur qui le caractérise, peut-être mis est en rapport avec le vrai, non pas selon des systèmes constants extérieurs et préalables, mais selon des entrées, des perspectives interférant avec la parole créatrice, notamment avec l’expérience de l’inspiration, de la composition, et de la lecture du symbole. Puisque telle vérité ne peut évidemment pas être posée comme un théorème ou axiome positivement prouvés et applicables, elle ne sera donc pas envisagée à travers un prisme théorique et philosophique précis, mais bien confrontée méthodiquement à la littérarité du texte, au poème, en ce qu’il présente et initie une forme d’existence intrinsèque, dont l’originalité et le paradoxe seraient précisément de ne pas être positive, au sens d’appuyée sur quoi que ce soit de préjugé, où tendue à dessein vers un objectif prescrit Our working hypothesis is as follows : under the cover of a pact of falsehood and play, Baudelaire implements the passage toward a poetry which, in order to deeply question itself henceforth with regard to its groundings, referents, metamorphoses, essence, and necessity, requires and incessantly engenders its own center-of-truth beyond any system. Thus, as distinct from his predecessors, the poet no longer aims his attention, efforts, doubts and suspicions at the readably and socially constructive import of what he writes, but at the relation between a poetic or artistic appearance that holds together (the figure, the image) and the inmost depths of humankind, that is, a certain dejection or collapse. The esthetic and moral perspective we seek thus to define in Baudelaire’s work questions the connection between the word and the person emitting it on the one hand, and those receiving it on the other: hence the calling into question of language as an actual vector as well as the anxious research that accompanies it are posed. At once born of and already distanced from Romanticism, this new focus and reflexivity free, exacerbate, and threaten the poetical: thus, by way of the motifs of hypocrisy, lying, the mask and art itself, the poet challenges this ideal in the very process of initiating it, all the while living a veritable poetic passion in which he invests and consumes himself, body and mind, not without a form of integrity. Such are the paradoxes envisioned. In what terms can one speak of poetic truth in Baudelaire’s work? Does he extract the idea of it toward an unfolding and assuredly fertile posterity or else does he stifle the upsurge with his characteristic clairvoyance ? Can such lucidity work against the authenticity of the artistic gesture? Where, when, and how does trueness come into play in a poem ? Why and with a view to what? In what manner does the work, by way of this strand, find a particularly illuminating coherence as initiator of modernity? But equally, within what limits? How, why, can and must poetic meaning escape dialectical concerns and hence deceive, likewise, all travesties and systematic adherence — and especially faithfulness to all obvious facts of solemnity? It’s about attempting to understand in what way the poetical, starting with Baudelaire, and as a result of his work, within the transfers and substitutions it presupposes, in its unprovability and its mystification, but equally in the rigor that characterizes it, may be placed in relation with the true, not according to constant external and pre-existing systems, but according to access-ways, perspectives interacting with creative speech, namely with the experience of inspiration, composition, and the reading of symbols. Since such a truth obviously cannot be posed as a theorem or axiom positively proven and applicable, it will therefore not be envisioned through a precise theoretical and philosophical prism, but rather confronted methodically with the literariness of the text, with the poem, in that it presents and initiates an intrinsic form of existence whose originality and paradoxy would be precisely not to be positive, in the sense of supported by anything pre-judged whatsoever, or tending by design toward any prescribed objective

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Pettersson, Ulf. "Textmedierade virtuella världar : Narration, perception och kognition." Doctoral thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-29606.

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This thesis synthezises theories from intermedia studies, semiotics, Gestalt psychology, cognitive linguistics, cognitive psychology, cognitive poetics, reader response criticism, narratology and possible worlds-theories adjusted to literary studies. The aim is to provide a transdisciplinary explanatory model of the transaction between text and reader during the reading process resulting in the reader experiencing a mental, virtual world. Departing from Mitchells statement that all media are mixed media, this thesis points to Peirce’s tricotomies of different types of signs and to the relation between representamen (sign), object and interpretant, which states that the interpretant can be developed into a more complex sign, for example from a symbolic to an iconic sign. This is explained in cognitive science by the fact that our perceptions are multimodal. We can easily connect sounds and symbolic signs to images. Our brain is highly active in finding structures and patterns, matching them with structures already stored in memory. Cognitive semantics holds that such structures and schematic mental images form the basis for our understanding of concepts. In cognitive linguistics Lakoff and Johnsons theories of conceptual metaphors show that our bodily experiences are fundamental in thought and language, and that abstract thought is concretized by a metaphorical system grounded in our bodily, spatial experiences. Cognitive science has shown that we build situation models based on what the text describes. These mental models are simultaneously influenced by the reader’s personal world knowledge and earlier experiences. Reader response-theorists emphasize the number of gaps that a text leaves to the reader to fill in, using scripts. Eye tracking research reveals that people use mental imaging both when they are re-describing a previously seen picture and when their re-description is based purely on verbal information about a picture. Mental spaces are small conceptual packets constructed as we think and talk. A story is built up by a large number of such spaces and the viewpoint and focus changes constantly. There are numerous possible combinations and relations of mental spaces. For the reader it is important to separate them as well as to connect them. Mental spaces can also be blended. In their integration network model Fauconnier and Turner describe four types of blending, where the structures of the input spaces are blended in different ways. A similar act of separation and fusion is needed dealing with different diegetic levels and focalizations, the question of who tells and who sees in the text. Ryan uses possible worlds-theories from modal logic to describe fictional worlds as both possible and parallel worlds. While fictional worlds are comparable to possible worlds if seen as mental constructions created within our actual world, they must also be treated as parallel worlds, with their own actual, reference world from which their own logic stems. As readers we must recenter ourselves into this fictional world to be able to deal with states of affairs that are logically impossible in our own actual world. The principle of minimal departure states that during our recentering, we only make the adjustments necessary due to explicit statements in the text.

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Morrison, Valerie Mandeville. "The labyrinth as metaphor of postmodern American poetics." 2008. http://purl.galileo.usg.edu/uga%5Fetd/morrison%5Fvalerie%5Fm%5F200808%5Fphd.

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Lockett, Michael. "Education by Metaphor." Thesis, 2013. http://hdl.handle.net/1974/7821.

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What is metaphor and how do we learn to think analogically? Education by Metaphor explores these questions from two perspectives: poetics and curriculum theorizing. Through this discursive inquiry, I develop arguments and hypotheses on the origins, mechanics, and educative possibilities of metaphor, often by drawing from Zwicky’s philosophical work and interviews I conducted with six Canadian writers. I sought conversations with these writers because the works they publish display deft and provocative analogical play. I wanted to know what they know about metaphor, and how they came to know such things, and how these ideas inform their critical, artistic, and pedagogical practices. I also asked for their thoughts on particular discursive conflicts and metaphoric models, and I asked them about their curricular experiences, both formal and otherwise. Excerpts from these transcripts are interwoven throughout the manuscript, according to their connections with the topics at hand. The first chapter of this dissertation traces metaphor’s discursive history and delineates its conflict with philosophy. From that foundation, I critique contemporary models for metaphor that stem from Black’s and Richards’ theorizing; after explaining why they are ill-suited to poetic terrain, I develop a less reductive model. Much of this work informs subsequent chapters, hence its preliminary positioning. In the second chapter I approach metaphor anthropologically and advance hypotheses for how we, as a species, might have come to think metaphorically. These hypotheses emphasize empathy and anthropomorphism, two important notions nested within the inner-workings of analogical thought. In turn, these hypotheses inform the third chapter’s explorations of poetic and ontological attention. This theoretical work reveals concepts integrally related to metaphor’s emergence, for example aesthetic experience, defamiliarization, and the interplay of pattern and anomaly. In the fourth chapter, I revisit these concepts from a more empirical perspective and use comments from my interviewees to illuminate intersections amongst play, pedagogy, and analogical thought. Lastly, the fifth chapter asks, what good is the study of metaphor? I respond to this question by addressing metaphor’s imaginative, ethical, and educational consequences. Thesis (Ph.D, Education) -- Queen's University, 2013-02-19 12:13:38.213

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Brown, John Piers Russell. "Donne and the Sidereus Nuncius: Astronomy, Method and Metaphor in 1611." Thesis, 2009. http://hdl.handle.net/1807/32002.

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John Donne’s poetry has long been famous for its metaphysical conceits, which powerfully register the impact of the “New Philosophy,” yet the question of how his work is implicated in the new forms of knowledge-making that exploded in the early seventeenth century has remained unanswered. “Donne and the Sidereus nuncius” examines the relation between method and metaphor on the cusp of the Scientific Revolution by reading the poetry and prose of Donne in the context of developments in early modern astronomy, anatomy and natural philosophy. I focus primarily on two texts, Ignatius, his Conclave (1610) and the Anniversaries (1611-2), which are linked not only by chronology, but also by their mutual concern with the effects of distorted perception on the process of understanding the universe. Written directly after the publication of Galileo’s Sidereus nuncius (1610), these works offer a historicized perspective on Donne’s changing use of scientific metaphor in relation to the transformative crux of the discovery of the telescope, which provided a startling new optical metaphor for the process of knowing. In this context, “Donne and the Sidereus nuncius” considers the conceptual work performed by scientific metaphor as part of an ongoing transformation from emblematic to analogic figuration. Donne’s search for material that is, in his phrase, “appliable” to other subjects, depends on an analogic conception of metaphor, a comparison that enables new thinking by identifying underlying commonalities between disparate objects. Building on this understanding of metaphor as comparative, I examine Donne’s self-conscious use of metaphors of methodical knowledge making—invention, innovation, anatomy and progress—in the context of instrumental metaphors, such as the telescope, spectacles, perspective, and travel narratives. In doing so, I suggest that Donne’s metaphorical conceits explore the conflict between scientific attempts to discern order in nature and the distorting effects of methodological frameworks imposed on the object of analysis.

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Chen, Ming-chan, and 陳明謙. "Expressing One’s Mind:Bixing’s Rhetorical Queries on Poetic Metaphor Interpreted by Visual Design." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/01366529687216951856.

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碩士 朝陽科技大學 工業設計系碩士班 101 China’s esthetics that has been borrowed and cited recently emerges in the design field led by the West, which embodies the drives to know what the China’s traditional esthetics is due to the esthetic form and classical elements extracted by the pop music and fashion brands. China’s poetry servces as one of China’s traditional esthetic treasures of which the image underlies the esthetic nature. Such subtle vivid poetic lines are the fruits of rhetoric. In fact, visual design and rhetoric share the identical dimension; therefore, it is a key issue to interpret the procedures during visual design created in terms of the borrwoing from China’s rhetotic. This paper focuses on queries of China’s poetic metaphor named Bixing and the findings pinpoint how China’s Bixing transcends the West’s metaphor since the latter fails to interpret metaphor to metonymy or vice versa. During such process, symbolism narrates how Bixing interprets images to visual expression; moreover, the interpretation in the symbol-selecting phase and the symmetry and negative space in the symbol-combining phase applicable to visual rhetoric of Bixing image in terms of the visual-design cases collected under the characterirstics of Bixing applied to creation of poster design.

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Johnston, Eleanor. "Puritan poetics : the development of literal metaphor from John Bunyan to Nathaniel Hawthorne." 1985. http://hdl.handle.net/1993/28903.

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Wang, Hui-Hsuan, and 王惠萱. "The poetics of spittle: Metaphor studies in Bernard-Marie Koltes''s "The Night Just Before The Forests"." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/d7pdv7.

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碩士 淡江大學 法國語文學系碩士班 102 This study deals with the play The Night just before the forests by the French author Bernard-Marie Koltes (1948-1989). It aims to rethink the functions of metaphor, then to exploit the metaphors in the title of the play, in the meeting scene, in those violent, vulgar, organic terms, and in the plight of the characters. We also focus on the Chinese translation of the play, since, like metaphor, translation is not a simple transfer, but the continuation of a process of meaning creation. Key word: Metaphor, Bernard-Marie Koltes, hermeneutics, translation

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"Wright, symbol, metaphor: examining the capacities of poetic language to articulate the self in the poetry of Judith Wright." 2012. http://library.cuhk.edu.hk/record=b5549233.

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本論文探討兩種修辭法- 象徵和隱喻-在表達自我的概念上的能力。朱迪思萊特的詩賦有強烈的倫理感。查爾斯泰勒的哲學則強調道德在現代自我的形成上所扮演的固有角色。萊特的作品所表達關於自我的概念，可藉著泰勒的學說找到亮光。 萊特相信現代人濫用科學和他們對科學思維的重視。萊特對此濫用的回應，影響著她的詩詞創作。她認為現代人對理性和客觀性的依賴使他脫離了他創作力和想像力。語言需要被振興來向人揭示他所擁有的語言財富。詩辭可以為他敞開新的方式來表達和觀看世界。 萊特對澳洲的景觀存著一份複雜的關係。「[她]生命中的兩條線 -對國土本身的熱愛和對本土人下場的深切不安」，在她的作品裡編織在一起。生於一個使原居民流離失所而致富的牧民家族，她的詩反映著她所背負的歷史罪疚感。萊特的詩闡述了她的內疚，並重申了她對國土的歸屬感。 萊特也因著人類與大自然的斷絶而哀悼。她將此等的斷絶歸究於人類對大自然資源的濫用開發。在她而言，大自然是一股永恆的力量，是充滿著不可否定的屬靈意義的。原住民文化重視土地，以它為生命和靈性的源泉，這是萊特認為現代人應當仿效的。環境的退化成了她的終身關注的政治議題。 朱迪思萊特的生命有三條主線 - 詩辭，為原住民的公義和保育。這三條線編織在一起，一方面使她的詩呈現著強烈的道德評價，也同時界定著她的自我身份。明顯地，詩辭 - 象徵與隱喻的重生 - 持續了她的希望，表達了她的關切，並塑造了像她如此的人和詩人。 This thesis examines the capacities of poetic language, symbol and metaphor, to articulate the self. Given the strong ethical direction of Judith Wright’s poetry, the notion of the self expressed in her work finds illumination in the philosophy of Charles Taylor whose writing on the modern self emphasizes the intrinsic role morality plays in its formation. Underpinning Wright’s poetics is her response to what she believed was modern man’s misuse of science and his emphasis on scientific thinking. His reliance on rationality and objectivity had left him out of touch with his capacities for creativity and imagination. Language needed to be revitalized to reveal to man the wealth of language in his possession; poetry could open up for him new ways of expressing and seeing the world. Wright’s relationship with the Australian landscape was complex. The “two threads of [her] life, the love of the land itself and the deep unease over the fate of its original people“, would “twine together in her work. Her poetry reflects the historical guilt she carried as a daughter of wealthy pastoralists who had displaced its original inhabitants. Poetry was Wright’s means of expiation of guilt and re-claiming her sense of belonging to the land. Wright also mourned man’s loss of connection with nature which she attributed to his instrumental exploitation of its resources. Nature had always been for her an abiding force imbued with inescapable spiritual significance. The value Aboriginal culture placed in the land as a source of life and spirituality was, for Wright, a model for modern man to emulate. Environmental degradation remained for the poet a lifelong concern and political cause. The three strands of Judith Wright’s life - poetry, justice for Aborigines, and conservation - are woven together to emerge as strong moral evaluations in her poetry and defining values in her identity. It is clear that poetic language - the re-constellating symbol and metaphor - sustained her with hope, enabled her to articulate her deep concerns and helped to shape the person and poet she became. Detailed summary in vernacular field only. Detailed summary in vernacular field only. Detailed summary in vernacular field only. Detailed summary in vernacular field only. Detailed summary in vernacular field only. Lamb, Kirsten Emma Wai-Ling. Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. Includes bibliographical references (leaves 117-119). Abstracts also in Chinese. Introduction Chapter Chapter One --- : Wright and the Self Chapter i. --- Poetry and the Re-constellation of Language Chapter ii. --- Born of the Conquerors: Righting the Wrongs of Aboriginal Injustice Chapter iii. --- “For Earth is Spirit“: Man’s Interconnectedness with Nature Chapter iv. --- Charles Taylor Chapter Chapter Two --- : The Self through Symbol Chapter i. --- Symbols: “Powerful, efficacious, forceful“ Chapter ii. --- Wright’s Approach to the Symbol Chapter iii. --- The Child Chapter iv. --- Darkness Chapter v. --- Fire Chapter Chapter Three --- : The Self through Metaphor Chapter i. --- Metaphors: Innovations of Language Chapter ii. --- ‘Lament for Passenger Pigeons’: Escaping Disillusion through Metaphor Chapter iii. --- ‘The Slope’: Resisting Despair through Metaphor Chapter iv. --- ‘Train Journey’: Epiphany and Renewal through Metaphor Chapter v. --- ‘To Hafiz of Shiraz’: Encountering the World through Metaphor Chapter Chapter Four --- : Articulating the Self through Symbol and Metaphor Chapter i. --- Repeat-able Symbol, Deplete-able Metaphor Chapter ii. --- Symbols and Bound, Metaphors are Free Chapter iii. --- Symbols and Metaphors Concluding Thoughts Bibliography

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Šimková, Hana. "Poetika Vladimíra Holana ve sbírkách z 30. let. Od neosymbolismu k tvůrčí občanské angažovanosti." Doctoral thesis, 2019. http://www.nusl.cz/ntk/nusl-394915.

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This thesis analyzes the poetics of Holan's Triumf smrti (1930, revised in 1936, 1948, 1965), collections written in the period of neosymbolism - Vanutí (1932, ultimately revised in 1965), Oblouk (1934, ultimately revised in 1965) and Kameni, přicházíš… (1937, ultimately revised in 1965) as well as collections reacting to the Munich Agreement and following historical events - Odpověď Francii (written in 1938, first published as late as 1946 in the compilation Havraním brkem), Září 1938 (1938), Zpěv tříkrálový (written in 1938-1939, first published as late as 1946 in the compilation Havraním brkem), Sen (1939), Chór (1941). In the first place, the thesis focuses on identifying the rhythmic structure of the individual collections, their constants and gradual transition. Part of the exploration of poetics is the determination of the function of the rhythmic constants in the individual collections, accompanied by an attempt to demonstrate that the rhythmic building of verse together with its instrumentation belongs to the essential components of Holan's poetics of that period. Furthermore, the thesis deals with the semantics of Holan's poetics in the given collections of his, especially the analysis of the basic features of the poet's metaphor and metonymy, their mutual relationship and permeation....

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Verwey, Len. "Ancient quarrels and current perspectives in the relationship between poetry and philosophy." Diss., 2001. http://hdl.handle.net/10500/1062.

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Beginning with Plato's expulsion of the poets in the Republic, this dissertation looks at the often hostile, yet also symbiotic, relationship between poetry and philosophy. Aristotle's 'response' to Plato is regarded as a significant origin of literary theory. Nietzsche's critique of Western philosophy as being an attempt to suppress its own metaphoricity, leads to a revaluation of truth and consequently of the privileging of philosophy over poetry. Post-structuralism sometimes overemphasizes this constitutive force of metaphoricity, at the expense of conceptual modes. However, Derrida's notion of philosophy as play retains a balance between concept and metaphor: there is no attempt to transcendentally ground philosophy, but neither is it reduced to a merely metaphorical discourse. Finally, Wittgenstein's notion of meaning as determined by use can help us distinguish pragmatically between poetry and philosophy by looking at the contexts in which they function. English Studies M.A. (English)

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Cox, Philip. "The politics & poetics of Gulliver’s travel writing." Thesis, 2019. http://hdl.handle.net/1828/11112.

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Working at the intersection of narrative studies and political theory, this thesis performs an original critical intervention in Gulliver’s Travels studies to establish the work as an intertextual response to the hegemonic articulations of European travel writing produced between the 15th and 18th centuries under the discourse of Discovery. My argument proceeds through two movements. First, an archeology of studies on Gulliver’s Travels that identifies key developments and points of significance in analyses of the satire’s intertextual relationship with travel writing. Second, a discursive analysis of the role of Discovery generally, and travel writing specifically, in constructing European hegemony within a newly global context. Together these movements allow me to locate Gulliver’s Travels firmly within the discourse of Discovery and to specify the politics of the text and the poetics of its operations. For this analysis I adopt a conceptualization of hegemony elaborated by Ernesto Laclau and Chantal Mouffe in Hegemony and Socialist Strategy (1985), which defines discourse as a structured totality of elements of signification, wherein the meaning and identify of each element is constituted by articulatory practices competing to fix the differences and equivalences between it and others within the discourse. An hegemonic discourse is one that successfully limits the possibility of novel articulations according to a particular governing logic. In the Age of Discovery, this governing logic, I argue, is a socio-spatial logic that constructed the “European” subject through its difference from the “Non-European,” the “civilized” subject through its difference from the “savage,” and the “free land” of the “savage” peoples through its difference from the occupied lands of the “civilized.” To conduct the concomitant critical analysis of Gulliver’s Travels, I draw upon Jacques Rancière’s conception of the “distribution of the sensible,” which refers both to the partitions determined in sensory experience that anticipate the distributions of parts and wholes, the orders of visibility and invisibility, and the relationships of address or comportment beneath every community; and to the specific practices that partake of these distributions to establish the “common sense” about the objects that make up the common world, the ways in which it is organized, and the capacities of the people within it. This enables me to establish travel writing as an articulatory practice that utilized a narrative modality to “reveal” the globe in a Eurocentric image dependent upon the logic of Discovery: a discursively constructed paradigm that I identify as what others have labeled “travel realism,” which organized the globe into a single field of discursivity predicated upon the “civilizational” and “rational” superiority of Europeans over their non-European Others. Gulliver’s Travels, I conclude, intervenes in this distribution of the sensible by utilizing the satirical form as a recomposing logic to upend the paradigm of travel realism and break away from the “sense” that it makes of the bodies, beings, and lands it re-presents. Graduate

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Desloover, Elise. "Une double subversion de genre(s) chez Nietzsche, ou comment philosopher par le poétique." Thesis, 2020. http://hdl.handle.net/1866/25480.

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Friedrich Nietzsche fait appel à un nouveau langage au service de la philosophie de l’avenir dans Par-delà le bien et le mal (1886). Son écriture s’en fait l’ostentation là même où elle se refuse à des descriptions explicites jugées trop conceptuellement fixes. Fidèle à une perspective résolument pluridisciplinaire, ce mémoire propose de souligner comment Nietzsche se tient à dessein sur la frontière mouvante entre philosophie et littérature pour mettre en œuvre ces nouveautés. Puisque la complexité du monde s’avère irréductible aux concepts philosophiques traditionnels, il s’agit plutôt d’illustrer ses vérités perspectivistes en ayant recours à la stylisation poétique et joueuse du texte. Ainsi s’expriment et s’élaborent maintes interprétations artistiquement créatrices du réel. La métaphore de la femme filée dans les œuvres de Nietzsche, qui personnifie tour à tour la vérité, la vie et la sagesse, s’avère centrale à cette pensée pleinement affirmative de la réalité. Elle met en scène des personnages féminins d’apparence voilée et pudique, entités qui se dérobent à la saisie conceptuelle tentée par la philosophie. Obéissant au principe de dévoilement de l’alètheia, la visée de celle-ci se compare à l’indécence juvénile du prétendant qui ne saurait s’y prendre pour conquérir l’objet de son amour et par là lui ferait violence. Nous proposons une exposition chronologico-thématique des diverses occurrences de la métaphore de la femme, enrichie de nombreux parallèles avec les écrits et commentaires de Jacques Derrida, de Sarah Kofman et d’Hélène Cixous. La caractérisation de figures mythologiques féminines (Sphinx, Baubô, Méduse) s’entrelaçant dans les passages étudiés indiquera que les textes de Nietzsche opèrent subrepticement des subversions de genres. La théorie queer de Judith Butler sera mobilisée afin de saisir les subtilités du bouleversement des figures canoniques de la vérité/vie/sagesse-femme et de la philosophie-homme. Il apparaîtra que ces subversions de l’identité de genre sont intimement liées à des subversions du genre textuel. L’interprétation du motif du voile, qui rattache tangiblement la métaphore de la femme à l’acception nietzschéenne du poète-philosophe de l’avenir, montrera que la valorisation des apparences par l’écriture poétique, habituellement perçues comme trompeuses, défie les formes consacrées de l’écriture philosophique et, par conséquent, l’appréhension du réel. In Beyond Good and Evil (1886), Friedrich Nietzsche proclaims the necessity of a new language serving the philosophy of the future he envisions. While his writing refuses to advocate for explicit descriptions deemed too conceptually fixed, it becomes the ostentation of this new language. Faithful to a resolutely multidisciplinary perspective, this dissertation proposes to underline how Nietzsche’s work purposefully blurs the border between philosophy and literature. Since the complexity of the world is irreducible to traditional philosophical concepts, it is rather a matter of illustrating perspectivist truths through poetic and playful textual stylization. Many artistically creative interpretations of reality are thus expressed and elaborated through writing. Specifically, the metaphor of the woman spun in Nietzsche’s works personifies in turn truth, life and wisdom, and is central to his affirmative philosophy of reality. It depicts veiled, modest female characters, such entities evading philosophy’s attempted conceptual grasp. Obeying aletheia’s (truth’s) principle of unveiling, its aim is comparable to the juvenile indecency of the suitor who knows not how to conquer the object of his love, hence committing acts of violence toward it. I propose to exhibit chronologically and thematically the various occurrences of the metaphor of the woman, which will then be read in parallel to the works or commentaries by Jacques Derrida, Sarah Kofman and Hélène Cixous. A characterization of certain female mythological figures intertwined in the examined passages (namely the Sphinx, Baubo and Medusa) will indicate that Nietzsche’s texts surreptitiously operate gender subversions. I will call upon Judith Butler’s Queer Theory to grasp in detail the upheaval of that canonical figures represented by truth/life/wisdom-woman and philosophy-man. As a result, these gender identity subversions will appear intimately tied to subversions of the textual genre. An interpretation of the veil motif, by tangibly linking the metaphor of the woman to the Nietzschean meaning of the future poet-philosopher, will show that the valorization of appearances by poetic writing, usually perceived as deceptive, defies the consecrated forms of philosophical writing. Consequently, it has a significant incidence on human beings’ apprehension of reality or realities.

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Dissertations / Theses on the topic 'Poetical metaphors'

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