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Nixon, Scott Michael. "A reading of Thomas Carew in manuscript." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319053.
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Alarauhio, J. P. (Juha-Pekka). "Matthew Arnold’s epics:towards a communicative approach." Doctoral thesis, University of Oulu, 2019. http://urn.fi/urn:isbn:9789529414253.
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Abstract This thesis is, on the one hand, an investigation into Matthew Arnold’s (1822–1888) literary communications and, on the other hand, an attempt to mediate between his writings and a twenty-first century readership. Arnold’s oeuvre is substantial and varied, but this study focuses on his epic poetry, which has remained a neglected part of his body of work despite its significance both to the author himself and to developing an understanding of Arnold’s development as a poet, cultural critic, and iconic ‘Victorian sage’. Furthermore, it is his epic poetry that seems to most fully address the theme of communication, and thus these longer poems function as points of orientation for a broader inquiry into Arnold’s communications. Arnold himself was keenly aware of the complicated status of communicative acts, but these complications have not always been acknowledged by the generations of criticism that have emerged since his death. Critics have thus produced images of Arnold which have not always done justice to the complexity of his communications. Based on an understanding of ‘communicative’ as a position of mediation between writers and readers, this thesis addresses the need for a more balanced communicative framework for mediating between Arnold’s writings in general — and his epic poetry in particular — his critics, and present audiencesTiivistelmä Tässä väitöskirjassa tarkastellaan Matthew Arnoldin (1822–1888) kirjallista kommunikaatiota, pyrkien välittämään hänen kirjoitustensa merkityksiä 2000-luvun yleisölle. Arnoldin kirjallinen tuotanto on runsas ja monipuolinen, mutta tässä tutkimuksessa keskitytään erityisesti hänen runoepiikkansa tulkintaan. Tämä osa hänen työstään on jäänyt tutkimuksessa verrattain vähäiseen asemaan huolimatta siitä, että Arnoldin kaksi lyhyttä runoeeposta olivat tärkeitä paitsi hänelle itselleen, mutta erityisesti osana hänen kehitystään runoilijana, kulttuurikriitikkona ja ikonisena viktoriaanisen ajan julkisena intellektuellina. Arnoldin runoepiikka vaikuttaa myös tutkivan kommunikaation teemaa laajemmin kuin hänen muut runonsa, ja toimii myös tällä tavoin keskiönä hänen oman kommunikaationsa laajemmalle tarkastelulle. Arnold oli varsin tietoinen kommunikaatiopyrkimystensä haasteista, mutta näitä ongelmia ei ole hänen kuolemansa jälkeen ilmestyneessä kritiikissä aina otettu huomioon. Näin on syntynyt monia Arnold-käsityksiä, jotka eivät välttämättä tee oikeutta hänen kommunikaationsa monivivahteisuudelle. Tämä väitöskirja pyrkii tuottamaan tasapainoisemman kommunikatiivisen lähestymistavan toimiakseen välittäjänä Arnoldin kirjoitusten, eritoten hänen eepostensa, ja nykylukijan välillä
Original papers The original publications are not included in the electronic version of the dissertation. Alarauhio, J.-P. (2012). Towards a Dialogical Approach to Matthew Arnold. In Sell, Roger D. (Ed.) Literary Community-Making: The dialogicality of English Texts from the Seventeenth Century to the Present. (131 - 142) Amsterdam: John Benjamins. Alarauhio, J.-P (2007). Sohrab and Rustum and Balder Dead – Communicating about Communication. In Nordic Journal of English Studies Volume 6, No. 2 (2007), 47 - 64. Alarauhio, J.-P (Forthcoming). Sohrab and Rustum – Matthew Arnold’s Spectacle
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Neidorf, Leonard. "The Origins of Beowulf: Studies in Textual Criticism and Literary History." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11366.
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Beowulf is preserved in a single manuscript written out around the year 1000, but there are many reasons to believe that the poem was composed several centuries before this particular act of manual reproduction. Most significantly, the meter of Beowulf reveals that the poet regularly observed distinctions of etymological length that became phonologically indistinct before 725 in Mercia. This dissertation gauges the explanatory power of the hypothesis that Beowulf was composed about three centuries before the production of the extant manuscript. The following studies test the hypothesis of archaic composition by determining whether it is able to accommodate independent forms of evidence drawn from the fields of linguistics, textual criticism, and literary history.
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Atanassova, Rossitza I. "Doctrine, polemic and literary tradition in some hexameter poems of Prudentius." Thesis, University of Oxford, 2001. http://ora.ox.ac.uk/objects/uuid:f74b5c1a-7b1d-42ae-afe7-bebd9aa7caf7.
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The thesis, the topic of which is restricted to the polemical didactic poems, Apotheosis, Hamartigenia and Contra Symmachum 1-2, aims to establish the attitudes of Prudentius to the literary tradition and argues for his relationship with the Latin classical poets. Its main argument is that the hexameter poems as a group can be profitably studied from a stylistic angle, since they show how Prudentius combined, and used with innovation, the styles of several poets, namely Lucretius, Virgil and Juvenal, and in many cases engaged with the literary tradition as a whole. Chapter I surveys, as reflected in the poems, Prudentius' awareness of the political, religious and literary milieu in the Christian Empire of the West in his day. Chapter II examines how Prudentius employed the style of argument and imagery in the D.R.N. to present Christian doctrines on the body and the soul, and to reject pagan superstition. Chapter III shows how with much imagination and respect Prudentius adapted Virgil's phraseology and techniques to give new Christian interpretations of some mythical and historical themes in the Aen., such as the 'Golden Age' and the battle of Actium, and of topics on agriculture from the Georg. Chapter IV argues that, like other fourth century Christian writers, the poet entered into the spirit of Satire and alluded to Juvenal's themes and language in his treatment of the topics of sin and sexuality. Finally, in Chapter V Prudentius' adaptations of the biblical accounts in Gen. 19 and of Ps. 136 are used to demonstrate how allegory, which is a main feature of his poetry, was combined successfully with different classical techniques. In conclusion, the hexameter poems demonstrate that Prudentius did not reject classical poetry on the basis of its content, but used both its themes and poetic techniques in order to merge the ancient with the Christian literary tradition.
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Mason, Henry Charles. "The Hesiodic Aspis : introduction and commentary on vv. 139-237." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:05a4c022-03d0-4508-800c-9e68e8429999.
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This thesis is concerned with the pseudo-Hesiodic Aspis, also known as the Scutum or Shield of Herakles (Heracles). It is divided into two halves: the Introduction, consisting of four chapters, is followed by detailed line-by-line commentary on a portion of the Greek text. Chapter I surveys the evidence for the poem's origins and dating before moving on to its scholarly reception since Wolf. It then argues that, for a proper understanding of the Aspis, the methodologies of oral poetics must be balanced with an awareness of its responses to fixed texts (in particular the Iliad). Chapter II examines the author as a poet within the oral tradition, focussing on: narrative style and structuring; type-scenes; similes; poetic ethos; the poem's position relative to the Hesiodic corpus; the use of formular language; and the growth of the poem in the author's hands. These problems are most fruitfully approached by taking account of the interplay of tradition on the one hand and of allusion to specific texts on the other. Wider points about the advanced stages of the oral tradition also emerge; in particular, from an analysis of narrative inconsistencies in the Aspis it is suggested that writing played a role in the poem's composition. Chapter III positions the poet within the literary tradition: his interactions with other songs and tales are sometimes sophisticated engagements of a kind more often detected in Hellenistic and Roman poetry. The presentation of the protagonist of the Aspis evinces the poet's skilful handling of myth, here manipulated for political purposes. Chapter III concludes with a survey of the poem's reception in early art and in literature up to Byzantine times. In Chapter IV the central section of the poem, the description of Herakles' shield (vv. 139-320), is examined in detail, both in relation to the Homeric Shield of Achilles and within the context of the Aspis. The second half of the thesis comprises a critical edition of and lemmatic commentary on vv. 139-237.
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Brasil, Marta Maria da Silva. "Edição de alguns poemas éditos e inéditos de Godofredo Filho." Programa de Pós-Graduação em Letras e Linguística da UFBA, 2006. http://www.repositorio.ufba.br/ri/handle/ri/10978.
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Edição de alguns dos poemas de Godofredo Filho, éditos, publicados em jornais e revistas, e inéditos. Tecem-se breves considerações sobre o Acervo do escritor. Traça-se o perfil do poeta e do intelectual à frente do IPHAN, Instituto Nacional do Patrimônio Histórico e Artístico Nacional. Dá-se relevo ao seu papel como precursor do Movimento Modernista na Bahia. Define-se o corpus documental que se compõe de dez textos éditos, com testemunhos autógrafos e impressos, e quatorze inéditos, datiloscritos autógrafos. Aplicam-se ao corpus os procedimentos metodológicos da Crítica Textual, obedecendo-se às seguintes etapas para a edição dos textos: recensio, collatio, eliminatio, stemma codicum, emendatio e constitutio textus. Apresentam-se os textos críticos dos poemas, a partir da eleição do texto de base, indicando-se todas as variantes no aparato crítico.
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Paleou, Matrona. "Literary criticism, poetry and ideological commitment : C.P. Cavafy and the Greek Left ( 1950-1974)." Thesis, University of Birmingham, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529793.
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Capp, Laura. "Poetry by post." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/4951.
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Poetry by Post is a four-month poetry subscription service that will run from November of 2013 to February of 2014. I will produce one mailing per month that will include a letterpress-printed broadside that features a poem of my choosing and an accompanying literary analysis and reply postcard, also letterpress-printed, all contained within calligraphed envelopes and posted with vintage stamps. Subscriptions are available at $150 for the series or $50 for an individual mailing and will not exceed 50 in number. The inaugural Poetry by Post will feature Midwestern poets Jennie Kinneberg Wrisley, Eric McHenry, Catherine Tufariello, and Ted Kooser. I have taken "Midwestern" to mean anyone who has simply spent a good bit of time in the large swath of land in the middle of the U.S. And much like the Midwest, the poetry featured will be plainspoken but no less profound for that.
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Mark, Alison Katherine Marshall. "Reading between the lines : language, experience and identity in the work of Veronica Forrest-Thomson." Thesis, Birkbeck (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362716.
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Cremin, Kathleen Mary. "Women, domesticity and Irish writing : foundations for a new kitchen?" Thesis, University of York, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313905.
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Paulsen, Timothy David. "Exploring literary perspectives of poetry though an interactive, multimedia, learning environment." Diss., This resource online, 1996. http://scholar.lib.vt.edu/theses/available/etd-10032007-172058/.
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Filho, Edgard Murano Fares. "Os rascunhos de O ano da morte de Ricardo Reis:os movimentos na escrita de José Saramago." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8142/tde-20052015-154807/.
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Os rascunhos do romance O Ano da Morte de Ricardo Reis (1984), do escritor português José Saramago (1922-2010), oferecem uma boa oportunidade para o estudo do método criativo do autor à luz da Crítica Textual e Genética. Por meio do levantamento, organização e interpretação das marcas de edição deixadas no documento pelo escritor acréscimos, supressões, substituições, inversões de palavras e enunciados, etc. é possível entrar em contato com o processo editorial que deu origem à obra. De modo que, sob a forma de uma edição crítico-genética e fac-similar, a comparação entre o texto dos rascunhos e o texto da primeira edição (editio princeps) ajuda a estabelecer os critérios que norteiam as intervenções do autor sobre o texto, mostrando que nem todas as alterações previstas no original foram acatadas pela versão impressa.The drafts of the novel The Year of the Death of Ricardo Reis (1984), by the portuguese writer José Saramago (1922-2010), offer a good opportunity to study the author\'s creative method in the light of Textual and Genetic Criticism. Through the gathering, organization and interpretation of editing marks left on the paper by the writer additions, suppressions, substitutions, inversions of words and statements, etc. it is possible to approach the editorial process that gave rise to the work. So that, in the form of a genetic and critical edition with facsimiles, the comparison between the original text and the text established in the first edition (editio princeps) helps to define the criteria that guided the interventions of the author, showing that not all changes in the original document were accepted by the printed version.
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Young, Sharon. "The country house in English women's poetry 1650-1750 : genre, power and identity." Thesis, University of Worcester, 2015. http://eprints.worc.ac.uk/6439/.
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This thesis examines the depiction of the country estate in English women’s poetry, 1650-1750. The poems discussed belong to the country house genre, work with or adapt its conventions and tropes, or belong to what may be categorised as sub-genres of the country house poem. The country house estate was the power base of the early modern world, authorizing social status, validating political power and providing an economic dominance for the ruling elite. This thesis argues that the depiction of the country estate was especially pertinent for a range of female poets. Despite the suggestive scholarship on landscape and place and the emerging field of early modern women’s literary studies and an extensive body of critical work on the country house poem, there have been to date no substantial accounts of the role of the country estate in women’s verse of this period. In response, this thesis has three main aims. Firstly, to map out the contours of women’s country house poetry – taking full account of the chronological scope, thematic and formal diversity of the texts, and the social and geographic range of the poets using the genre. Secondly, to interrogate the formal and thematic characteristics of women’s country house poetry, looking at the appropriation and adaptation of the genre. Thirdly, to situate the selected poetry both within and against the extensive and formally published male-authored canon and the more general literary and historical contexts of the early modern period. Across these related strands of discussion, the study has two important implications for our understanding of late seventeenth- and early eighteenth-century poetry: it adds to our knowledge of women’s poetic practices of the period and extends and complicates our understanding of the country house genre. Each chapter highlights a particular engagement with the genre responding to a complex of historical contexts, literary trends and personal circumstance. Chapter one will explore the contexts which prompt the emergence of the country house poem and the shape and detail of the genre, 1600–1650. It also examines where the specific gendered contexts of women’s writing practices are relevant to the selection of texts. Chapter two focuses on the thematic and formal interplay in Katherine Austen’s manuscript miscellany ‘Book M’ and role the country house genre plays in exploring and negotiating women’s relationship to property. Chapter three shares many of the same historical and literary contexts but from a different religio-political standpoint and focuses on Lucy Hutchinson’s manuscript collection ‘Elegies’. Chapter four examines the appropriation and re-positioning of the country house genre in the poetry of Anne Finch and Jane Barker, arguing that as the post- Restoration period began, the motivation to explore the country house as a symbol of legitimate political power, a location and symbol of retirement and retreat and the site of financial and cultural investment did not wane, but was reworked by Finch and Barker to explore their political sympathies for the Stuart monarchy. Chapter five explores the use of the country house genre by poets associated with Whig political sympathies: Lady Mary Wortley Montagu and Anne Ingram. Largely unaffected by socio-economic or political marginalisation, both Montagu and Ingram enter into a public, and politically inflected, debate on the importance of taste. Chapter six explores two writers, Mary Leapor and Mary Chandler, who belong to an emerging body of writers of mercantile or labouring class. The discussion will focus on Leapor’s ‘Crumble-Hall’ and Chandler’s A Description of Bath and the contexts of consumerism and tourism to which both poems respond.
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Kelly, Catriona. "Innokenty Fedorovich Annensky and the classical ideal : poetry, translations, drama and literary essays." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:402cf752-742c-4447-ae0c-ffeace85f95c.
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Innokenty Annensky (1855-1909) was better known to his contemporaries as a classics teacher and translator than as a poet; but, with the exception of two or three obituary articles, nothing has been written on his work as a classicist. His work has often been misconstrued and he has been described as an outstanding scholar. It has not been generally appreciated that his interest in the scholarly world was not really academic; he saw classical texts as models for his own literary works, and as inspiration for the 'Slavonic renaissance' he looked forward to with F.F. Zelinsky. This thesis covers Annensky's classical education, the essays he wrote on classical literature, and his translations of classical texts. Particular attention is given to the essays and translations which were intended to be published in Teatr Evripida, the first complete Russian version of Euripides. Annensky wrote no essay explicitly devoted to the subject of classicism. But from his essays on classical literature and the remarks on classical literature in his essays on modern literature it is possible to extrapolate his views on the nature of the classical tradition and on how he thought classical literature should be imitated. I show that Annensky's attitude to the classics was idiosyncratic and paradoxical. On the one hand, the classical world was viewed elegaically as an ideal of lost perfection; on the other, it was one of many cultural traditions on which he drew in his literary works and which was adapted in accordance with Modernist poetics. The discussion of Annensky's views on classicism is accompanied by information about the system of classical education in Russia 1870-1910, and about the history of classical scholarship and of literary classicism in Russia. Annensky's essays are compared with those of a representative scholar, Zelinsky, and a representative Symbolist, Vyacheslav Ivanov.
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Louw, Denise Elizabeth Laurence. "A literary study of paranormal experience in Tennyson's poetry." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002292.
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My thesis is that many of Tennyson's apparently paranormal experiences are explicable in terms of temporal lobe epilepsy; and that a study of the occurrence, in the work of art, of phenomena associated with these experiences, may be useful in elucidating the workings of the aesthetic imagination. A body of knowledge relevant to paranormal experience in Tennyson's life and work, assembled from both literary and biographical sources, is applied to a Subjective Paranormal Experience Questionnaire, compiled by Professor V.M. Neppe, in order to establish the range of the poet's apparently "psychic" experiences. The information is then analysed in terms of the symptomatology of temporal lobe epilepsy (TLE), and the problems of differential diagnosis are considered. It is shown, by means of close and comparative analyses of a number of poems, that recurring clusters of images in Tennyson's poetry may have their genesis in TLE. These images are investigated in terms of modern research into altered states of consciousness. They are found to be consistent with a "model" of the three stages of trance experience constructed by Professor A.D. Lewis-Williams to account for shamanistic rock art in the San, Coso and Upper Paleolithic contexts. My study of the relevant phenomena in the work of a nineteenth century English poet would seem to offer cross-cultural verification of the applicability of the model to a range of altered-state contexts. This study goes on to investigate some of the psychological processes which may influence the way in which pathology is manifested in the poetry of Alfred Tennyson. But, throughout the investigation, the possible effects of literary precursors and of other art forms are acknowledged. The subjective paranormal phenomena in Tennyson's poems are compared not only with some modern neuropsychiatric cases, but also with those of several nineteenth-century writers who seem to have had similar experiences . These include Dostoevsky and Edward Lear, who are known to have been epileptics, and Edgar Allan Poe. Similarity between some aspects of Tennyson's work and that of various Romantic poets, notably Shelley, is stressed; and it is tentatively suggested that it might be possible to extrapolate from my findings in this study to a more general theory of the "Romantic" imagination.
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RIS, CYNTHIA NITZ. "IMAGINED LIVES." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054222125.
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France, Angela. "Hide : a 21st century woman's response to the first person in poetry." Thesis, University of Gloucestershire, 2015. http://eprints.glos.ac.uk/3871/.
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This thesis, titled ‘Hide: A 21st century woman’s response to the first person in poetry’ is a creative and critical examination of the challenges and benefits of the first-person approach in poetry. It is in two parts, consisting of a collection of sixty poems and a critical investigation into the research leading to, and engendered by, the poems. Hide is a place from which to observe, hide is skin, hide is deliberate concealment; all of these meanings can be seen to reflect some of the concerns examined in both the creative and critical parts of the thesis. ‘Hide’s’ layers of meaning directly engage with what 'I' we choose to conceal and what 'I' we choose to show, as well as residing on the boundaries between privacy and exposure. The poems spring from investigations of my central concerns of autobiography, family history, the workings of memory, and ancestral knowledge in the form of ‘cunning’. The poems are an active investigation into the challenges and benefits of the ‘I’; the approaches and techniques for using it as well as the reasons for, and strategies involved in, avoiding the ‘I’. The critical part of the thesis is an auto-ethnographic study of the poems in the collection, together with examination of the difficulties faced by women writing in the first-person. The research includes thematic analysis of published reviews, and examination of the critical landscape within which women are writing.
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Dahroj, Fawaz Ahmad. "The effect of modern linguistics on Arabic literary criticism : the stylistic approach and its application to Arabic poetry." Thesis, University of Glasgow, 1998. http://theses.gla.ac.uk/6494/.
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The main objective of this study is to show how "the Stylistic Phenomenon" has entered Arabic literary critical life. It aims to examine "Practical Criticism" in Arabic, which adopts a "stylistic approach". In order to achieve this, however, it is essential to have examined a complete picture of this approach in Arabic literary life in all its aspects, most of which are concerned with issues, of stylistic theory rather than practical stylistics. Efforts have been devoted to establishing it as a separate recognised approach: in the theory of translation, in matters of terminology, in traditional Arabic literary criticism, etc. The "Stylistic Approach" in Arabic literary life, as examined here, also illustrates the whole situation of the real relationship of Arabic literary criticism with modern literary criticism in The West. There are various channels of connection with modern Western literary criticism, such as the translation of the most important works relating to this topic into Arabic, either as monographs or as articles in literary journals. There are also Arab writers who have been educated in The West and who are applying the stylistic approach to Arabic literature. This study shows the connection of Arab scholarship with the modern linguistic revolution in the West, from which the stylistic approach is the fruit. It is clear that the most important figures in modern linguistics, particularly those whose works are influenced by modern Western linguistics or have been affected by modern Western literary criticism, are well-known, and the Arab reader is familiar with Althusser, Bakhtin, Bally, Barthes, Brooks, Chatman, Chomsky, Cohen, Derrida, Foucault, Genette, Jakobson, Levi-Strauss, Saussure and many others.
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Buglass, Abigail Kate. "Repetition and internal allusion in Lucretius' 'De Rerum Natura'." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:b20951f7-d299-4c5f-8470-5e67be1340ff.
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This thesis aims to solve the apparent problem of the frequent repetitions in Lucretius' De Rerum Natura (DRN). Verbal repetitions of many different lengths pervade DRN, and are noted in the scholarship. Yet a consensus has not been reached as to their purpose and function, or even if they rightly belong in the text. Multi-linear repetitions are viewed as a temporary stop-gap which Lucretius would have removed or adjusted had he lived long enough to effect it; or as later interpolations; while shorter repetitions are underplayed or even ignored altogether. But repetitions and internal allusions in DRN are part of a purposeful, meaningful didactic and rhetorical strategy, and they form much of the intellectual structure of the poem. These internal connections combine in DRN to form a remarkably complex intratextual network. The thesis argues that repetition is a crucial way in which Lucretius conveys his arguments and persuades the reader to pursue a rational life. Chapter 1 analyses the ways in which Lucretius' epic predecessors used repetition and how Lucretius may have applied these models. Chapter 2 looks at the internal evidence for the alleged unfinished state of the poem and examines the function of long repetitions in DRN. Chapter 3 investigates the rhetorical background to and functions of different kinds of repetition in DRN. Chapter 4 explores the didactic and psychological effects of repetitions and internal allusions. Chapter 5 shows how repetition creates an image of the world Lucretius describes: just as Lucretius tells us that atoms and compounds make up different substances depending on their arrangement in combination, so repetitions perform different functions and produce different outcomes depending on their placement in the text. Throughout the poem, repetition serves again and again to reinforce Lucretius' message, creating argumentative unity, and bringing order from chaos.
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Moore, Lindsay Emory. "The Laureates’ Lens: Exposing the Development of Literary History and Literary Criticism From Beneath the Dunce Cap." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822784/.
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In this project, I examine the impact of early literary criticism, early literary history, and the history of knowledge on the perception of the laureateship as it was formulated at specific moments in the eighteenth century. Instead of accepting the assessments of Pope and Johnson, I reconstruct the contemporary impact of laureate writings and the writing that fashioned the view of the laureates we have inherited. I use an array of primary documents (from letters and journal entries to poems and non-fiction prose) to analyze the way the laureateship as a literary identity was constructed in several key moments: the debate over hack literature in the pamphlet wars surrounding Elkanah Settle’s The Empress of Morocco (1673), the defense of Colley Cibber and his subsequent attempt to use his expertise of theater in An Apology for the Life of Colley Cibber (1740), the consolidation of hack literature and state-sponsored poetry with the crowning of Colley Cibber as the King of the Dunces in Pope’s The Dunciad in Four Books (1742), the fashioning of Thomas Gray and William Mason as laureate rejecters in Mason’s Memoirs of the Life and Writings of William Whitehead (1788), Southey’s progressive work to abolish laureate task writing in his laureate odes 1813-1821, and, finally, in Wordsworth’s refusal to produce any laureate task writing during his tenure, 1843-1850. In each case, I explain how the construction of this office was central to the consolidation of literary history and to forging authorial identity in the same period. This differs from the conventional treatment of the laureates because I expose the history of the versions of literary history that have to date structured how scholars understand the laureate, and by doing so, reveal how the laureateship was used to create, legitimate and disseminate the model of literary history we still use today.
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Choi, Junho. "Understanding the literary structures of Acrostic Psalms : an analysis of selected poems." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85583.
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Thesis (MTh)--Stellenbosch University, 2013.ENGLISH ABSTRACT: By means of literary, linguistic and comparative literary approaches, this study examines the literary structure of the alphabetical acrostic poems in the Psalms. First, a literary approach is used to analyze the form and content of each alphabetical acrostic poem to show that the literary structure of the poems is varied. Selected Psalms 9-10, 111 and 112 are translated from the Hebrew and compared to ancient Near Eastern languages especially Akkadian and Ugaritic. Second, by means of linguistic approaches, the literary structure of each poem is determined on both micro and macro levels using the researcher’s own translations of these psalms. Furthermore, a comparative literary approach is employed to compare the forms of ancient Near Eastern acrostics, in particular Akkadian, Egyptian and Ugaritic poems, to Hebrew acrostics. The analysis reveals both similarities with other ancient Near Eastern forms as well as the uniqueness of the Hebrew alphabetical acrostic poems. Both linguistic and literary insights are used to determine the relationship between the different forms. The findings suggest that the alphabetical acrostic poems were probably written around or after 1000 B.C.E. since the ancient Near Eastern poems were written before 1000 B.C.E. The unique 22-line form of the Hebrew alphabetical acrostics also indicates that Hebrew thought was distinct from what can be observed in other ancient Near Eastern texts. On the basis of this research, a conclusion is reached and suggestions for future research are made.
AFRIKAANSE OPSOMMING: Deur literêre, linguistiese en vergelykende literêre benaderings ondersoek hierdie studie die literêre struktuur van die alfabetiese akrostiese gedigte in die Psalms. Eerstens word ‘n literêre benadering gebruik om die vorm en inhoud van elke alfabetiese lettervers te ontleed om aan te toon dat die literêre struktuur van die gedigte verskillend is. Die gekose Psalms 9-10, 111 en 112 word uit die Hebreeus vertaal en in vergelyking met die Ou-Nabye-Oosterse tale, veral Akkadiese en Ugarities, bespreek. Tweedens, deur linguistiese benaderings, word die literêre struktuur van elke gedig op beide mikro-en makro vlakke bepaal deur gebruik te maak van die navorser se eie vertalings van hierdie psalms. Verder, word ‘n vergelykende literêre benadering aangewend om die vorms van die Ou-Nabye- Oosterse akrostiese gedigte, in die besonder Akkadies, Egiptiese en Ugaritiese gedigte, met Hebreeuse akrostiese gedigte te vergelyk. Die ontleding toon die ooreenkomste met ander antieke Nabye- Oosterse vorms sowel as die uniekheid van die Hebreeuse alfabetiese akrostiese gedigte. Beide linguistiese en literêre insigte word gebruik om die verhouding tussen die verskillende vorms te bepaal. Die bevindinge dui daarop dat die alfabetiese akrostiese gedigte waarskynlik geskryf is rondom of later as 1000 vC, angesien die antieke Nabye-Oosterse gedigte voor 1000 vC geskryf is. Die unieke 22-reël vorm van die Hebreeuse alfabetiese akrostiese gedigte dui ook aan dat die Hebreeuse denke te onderskei is van wat in ander antieke Nabye-Oosterse tekste gereflekteer word. Gebaseer op hierdie navorsing, word tot ‘n gevolgtrekking gekom, en word voorstelle vir toekomstige navorsing gemaak.
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Williams, Sean Daniel. "Theorizing a perspective on world wide web argumentation /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/9399.
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Macleod, Eilidh. "Linguistic evidence for Mycenaean epic." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14497.
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It is now widely acknowledged that the Greek epic tradition, best known from Homer, dates back into the Mycenaean Age, and that certain aspects of epic language point to an origin for this type of verse before the date of the extant Linear B tablets. This thesis argues that not only is this so, but that indeed before the end of the Mycenaean Age epic verse was composed in a distinctive literary language characterized by the presence of alternative forms used for metrical convenience. Such alternatives included dialectal variants and forms which were retained in epic once obsolete in everyday speech. Thus epic language in the 2nd millennium already possessed some of the most distinctive characteristics manifest in its Homeric incarnation, namely the presence of doublets and the retention of archaisms. It is argued here that the most probable source for accretions to epic language was at all times the spoken language familiar to the poets of the tradition. There is reason to believe that certain archaic forms, attested only in epic and its imitators, were obsolete in spoken Greek before 1200 B.C.; by examining formulae containing such forms it is possible to determine the likely subject-matter of 2nd millennium epic. Such a linguistic analysis leads to the conclusion that much of the thematic content of Homeric epic corresponds to that of 2nd millennium epic. Non-Homeric early dactylic verse (e.g. the Hesiodic corpus) provides examples of both non-Homeric dialect forms and of archaisms unknown from Homer. This fact, it is argued, points to the conclusion that the 2nd millennium linguistic heritage of epic is evident also from these poems, and that they are not simply imitations of Homer, but independent representatives of the same poetic tradition whose roots lie in the 2nd millennium epic.
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Jeffery, Thomas Carnegie. "The location of meaning in the postmodernist literary text: a reading of Mark Z. Danielewski's House of Leaves and related material." Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1002238.
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In House of Leaves, Mark Z. Danielewski has produced a text which epitomises the traits and concerns of postmodernist literature. Through his attention to aspects such as metafiction, intertextuality and parody, Danielewski develops a narrative structure which is best understood as a literary labyrinth. It is a structure intended to reflect the social conditions of the twenty-first century and comment on the experience of people living at this time. Some of the meaning-making strategies within the book’s labyrinthine structure are thus discussed in detail in order to demonstrate the relevance and importance of House of Leaves as social commentary. House of Leaves is an exemplary postmodernist text, but it is also one that seeks to guide the reader beyond the intellectual impasse of the postmodernist paradigm toward a renewed ethical and political engagement with the world. One of the most important goals of both Danielewski’s novel and this thesis is to attempt to redefine the postmodernist perspective in such a way as to insist on the necessity of what I call a new realism. This is founded upon an awareness of the pervasiveness of the self-perpetuating ideology of capitalism, even in the perspective of postmodernism (which purports to subvert all authoritative ideologies). Playing a crucial role in perpetuating the status quo of capitalism is the growth of entertainment culture, which works to sideline crucial political issues by replacing information with infotainment. The result is an intensification of the processes of commodification. Such an intensification, it is argued, may be countered by a radical scepticism which draws upon the methods and insights of contemporary science.
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Parera, Rodriguez Caterina. "Xavier Benguerel i Llobet. Obra novel·lística de la primera etapa (1929-1953)." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/393883.
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En un moment marcat per la polèmica sobre la represa del gènere novel.la i l'entrada, a Catalunya, de la influència proustiana a les acaballes dels anys vint, les primeres novel•les de Xavier Benguerel porten l'empremta d'aquestes coordenades i, alhora, suposen l'esforç d'un jove escriptor per tal de fer-se un estil. L'autor parteix de la tradició literària i cultural que li aporten els entorns familiar, escolar i social, per confegir aquestes novel•les de la primera etapa, en les quals incorpora diversos elements innovadors, d'entre els quals cal assenyalar el psicologisme, que és el model que li sembla més adequat per tal de recrear i mitificar el món que coneix, que està en continu canvi i que, finalment, s'extingirà. La cultura popular, les seves vivències més personals i la poesia simbolista vindran a enriquir les seves possibilitats literàries sempre en llengua catalana. Precisament l'estudi i l'anàlisi de l'elaboració de les vuit primeres novel•les és el tema de la meva tesi amb l'objectiu de veure qui na és I a seva manera de treballar, quines són les constants de la seva producció primerenca, com consolida I a seva manera d'entendre i resoldre el gènere com a creador de novel•les i quina recepció troba entre el seu públic lector.
Amb la primera novel•la, Pàgines d'un adolescent, a les acaballes dels vint, comença a dibuixar el seu personal coneixement del món a partir d'una sèrie d'elements autobiogràfics i d'un estil impregnat de lirisme que constitueixen les bases de I a seva novel•lística. A La vida d’Olga, El teu secret i Suburbi, Benguerel continua la línia endegada en la construcció de la novel•la de formació, d'estil poètic i amb elements autobiogràfics, en una progressiva evolució dins el marc de la novel•la psicològica. Aquestes novel•les configuren el procés de formació de l'escriptor que no consolidarà la seva veu literària fins als anys quaranta, quan salvades mínimament les vicissituds de la guerra i de l'exili, podrà reprendre l'escriptura i oferir títols com La màscara, L’home dins el mirall, La família Rouquier i La veritat del foc.
Al final de l'exili, Benguerel reprendrà també unes coordenades d'espai i temps, creades anteriorment, amb les quals podrà reconstruir el record del seu món perdut, fugint de la realitat d'exiliat. L'exemple més clar és La família Rouquier, que pot ser caracteritzada per la mirada retrospectiva arrelada en el passat familiar català anterior a la guerra
del 1936-39 i en les tendències narratives de les lletres catalanes de les primeres dècades del segle XX.
En conclusió: el pensament estètic i la producció novel·lística de Xavier Benguerel, entre 1929-1953, dibuixen dues grans etapes, de formació, la primera, i de represa literària, la segona, separades per la profunda crisi que suposa la marxa a l’exili. Malgrat tot, el corpus novel·lístic estudiat presenta unes característiques unitàries i comunes, que coincideixen a constituir un conjunt autobiogràfic, amb rerefons poètic i psicologista. Efectivament, partint de la seva experiència personal i del seu coneixement del món, Benguerel aprofundeix en la introspecció psicològica dels personatges amb la incorporació del flux de la consciència, del monòleg interior, dels diaris íntims o de les cartes. D’altra banda, en el rerefons d’aquestes novel·les benguerelianes, hi bateguen els versos que l’autor escriu paral·lelament i que recull a Poemes de Suburbi i Carroussel de somnis. En prosa o en vers, l’autor vol penetrar l’ànima humana que facilita l’actualització de grans temes: la infantesa i l’adolescència com a estats transitoris de la consciència vers el món dels adults, la complexitat de les relacions humanes i la gestió de les emocions com ara la descoberta de l’amor, la passió, l’angoixa i el patiment humans.At a time marked by controversy over the resumption of the novel and the beginning of Proust's influence in Catalonia in the late twenties, Xavier Benguerel's early novels are marked by these coordinates and also represent the efforts of a young writer to draw an own style. The author starts from his own literary and cultural tradition that is brought by his fami I y, school and social environment, and incorporates several innovative elements, among which he can find an especially valid psychological model, to evocate and recreate a world that he knows is going to become extinct. Popular culture, their most personal experiences and symbolist poetry come to enrich their literary possibilities always in Catalan. Precisely the study and analysis of the development in the first eight novels is the subject of my thesis in order to see the way he works, the constants in his early production, his consolidation as a creator of novels and the reception of his works among his readers. With his first novel, Pagines d'un adolescent, he begins to outline his personal knowledge of the world through a series of autobiographical elements and a style steeped in lyricism that constitute the bases of his novels. In La vida d'Olga, El teu secret and Suburbi, Benguerel continues the work begun on the construction of the novel of formation, with poetic style, autobiographical elements and a progressive evolution within the framework of the psychological novel. In the forties, when he minimally saves the vicissitudes of war and exile, he resumes writing and offers titles such as La mascara, L'home dins el mirall, La familia Rouquier and La veritat del foc. At the end of exile, with Rouquier Family, characterized by a retrospective view rooted in the past before the Civil War and by the narrative tendencies of Catalan literature in the first decades of the twentieth century, Benguerel recovers the memory of his lost world, eluding the reality of exile. In conclusion, Benguerel’s aesthetic thinking and novel work, 1929-1953, draw two major stages, training and renewal of literary, marked by the deep crisis that involves walking in exile. However, the studied novel corpus shows some common and uniform features which coincide to form a psychologist set with a poetic and an autobiographical backdrop.
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Anderson, Robin. "Bridging the Past and the Present: The Historical Imagination in the Criticism and Narrative Poetry of C. S. Lewis." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/25482.
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C. S. Lewis is best known as the author of The Chronicles of Narnia, but Lewis’s poetry tends to be treated separately from his other works, or as an antecedent to his more famous prose works. This thesis shows that Lewis’s paradoxical views of literary history, cultural death, reason and imagination are reflected in his narrative poems. George Watson says that Lewis was “a paradoxical thing, a conservative iconoclast, and he came to the task well-armed” (1). He is both a traditionalist and a rebel against his times. I explain Lewis’s paradoxes in terms of the concepts of history, memory, reason and imagination, and show that Lewis’s position was a negotiation of his own historical and cultural context. Lewis’s poems and scholarly work indicate that his approach to historical terms is first to underline divergence, and then to emphasize a use of seemingly polarized terms in order to unify them.
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Busnelli, Gabriele. "Reasoning, Questioning, Perception, Bibliography : The Paths of Knowledge in the Poetry of Callimachus." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1583998826913403.
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Brito, Emanuel França de. "O nobre poeta por si mesmo: Dante e o Convívio." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-11112015-125137/.
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Esta pesquisa propõe um mergulho no Convívio texto que Dante Alighieri redigiu nos primeiros anos do século XIV de modo a destacar a sua importância dentro da obra dantesca e das letras italianas. Para isso, em um primeiro momento, são apresentados e discutidos alguns dos problemas que envolvem a obra, como, principalmente, a língua de sua composição, as odes à filosofia como salvadora do homem, e o combate ao senso comum a respeito da nobreza do indivíduo. Optou-se por privilegiar a perspectiva do autor, que estrutura o texto a partir de um autocomentário a três de suas canções doutrinárias compostas na juventude e reapresentadas por ele nos primeiros anos de exílio político. Num segundo momento, este trabalho apresenta uma tradução integral do Convívio, sempre com a intenção de que prevaleça a suposta voz de Dante na maior parte das questões acima mencionadas. Por ser esse o texto dantesco que mais provoca discussões quanto ao seu estabelecimento, a tradução se dá a partir da edição crítica de Franca Brambilla Ageno (1995), mas destacando em nota as principais variantes textuais defendidas, principalmente nos séculos XIX e XX, por outros estudiosos e editores. Assim, tal trabalho visa sugerir a importância da discussão filológica no campo dos estudos dantescos feitos no Brasil, discussão essencial pela ausência de testemunhos originais que atestem o verdadeiro teor das palavras de Dante.This reasearch proposes an in depth analysis of Convivio a work which Dante Alighieri wrote in the first years of the XIV century in order to show its importance in the Dantesque work and in the Italian literature. In a first moment, some problems concerning the work are presented, such as the language of its composition, the odes to philosophy as mans saviour and the battle against common sense in respect to the nobility of the individual. We chose to give privilege to the authors perspective, which builds the text from a self-comment to three of his doctrinal songs composed in his youth and brought back to the public eye in his first years of political exhile. In a second moment, this work presents a full translation of Convivio, always aiming at keeping Dantes supposed voice in most part of the matters stated above. Since this is the Dantesque text that brings more discussions as far as its establishment is concerned, the translation is carried out from the critical edition of Franca Brambilla Ageno (1995). However, notes were written to show the main textual variations defended by other students of Dantes work and editors, especially in the XIX and XX centuries. Therefore, the present work aims at suggesting the importance of the philological discussion in the field of the Dantesque studies carried out in Brazil, which is essential due to the absence of original statements that confirm the real intention of Dantes words.
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Murdock, Robert Pearson III. "Scarecrow." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1195513157.
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Kaminski, Margot. "Challenging a literary myth, long poems by early Canadian women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0024/MQ37562.pdf.
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Soper, Harriet Clementine. "A count of days : the life course in Old English poetry." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277493.
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This thesis investigates the representation of the human life course in Old English poetry. It attends to constructions of the lifespan as a durational unit, as well as the ‘stages’ or discrete age-related experiences which together form patterns for life development, shared across a diverse range of texts. Throughout this study, the importance of close-reading is emphasised; the bulk of the analysis is concerned with issues of style, lexis and narrative. By these means, it becomes possible to perceive how concepts of the human life course shade into other networks of meaning: these include ideas of ensoulment and embodiment, life experiences of non-human entities, wider narrative patterns which impact representations of life progression, mechanisms and hierarchies of social role and communal existence, and systems of memory collection and the nurturing of ‘wisdom’. The introductory chapter addresses various possible modes of ‘life course’ structuring, in both Anglo-Saxon writings and modern scholarly traditions. Latin and Old English vocabularies of ageing are summarised and an overview is given of previous scholarship attendant on the Anglo-Saxon material. The following three chapters of the thesis then assess representations of different parts of the life course in different groups of texts. The second chapter is concerned with depictions of early life in the Exeter Book Riddles; it contends that these texts have been unduly passed over in discussions of ageing in Old English, seemingly due to their (mostly) non-human subjects. The third chapter addresses the treatment of early and late adulthood in the verse holy lives Andreas, Guthlac A, Juliana and Judith: it is in this chapter that concepts of the life course most clearly intersect with issues of social organisation. The fourth chapter is concerned with the characterisation of old age in Beowulf and Cynewulf’s epilogue to Elene, alongside other texts; the concept of ‘wisdom’ acquired through experience is closely scrutinised, and the verbal and poetic elements of good judgment are elucidated. This thesis concludes that Old English poetry presents human ageing in a manner which encompasses a diverse range of experiences and interrelates with a multitude of wider conceptual frameworks. As such, the texts do not subscribe neatly to an ‘ages of man’ idea. Nonetheless, attention paid to the patterns of human ageing which do emerge from the poems can facilitate more sensitive and productive readings of the texts themselves. The thesis closes with some examples of passages which may be newly interpreted and appreciated in the light of how the life course is conceived across the Old English poetic corpus.
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Bierschenk, Jerome Michael. "An Analysis of Selected Choral Works by Kirke Mechem: Music-Textual Relationships in Settings of Poetry of Sara Teasdale." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/bierschenk%5Fjerome/index.htm.
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Fasey, Rosemary J. "Writers in the service of revolution : Russia's ideological and literary impact on Spanish poetry and prose, 1925-36." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14655.
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This thesis is a comparative literary study which is conducted by placing the reception of Russian literature in Spain during the period 1918-36 within the context of the interplay of literature and the social and political situations in which it is written. It first places the boom in the publication of Russian literature in the late 1920s and 1930s within the context of the history of the reception of Russian literature in Spain, providing a comprehensive survey of that history. Next, it describes the impact of the Russian Revolution and the formative years of the Soviet Socialist state on the political situation in pre-Civil War Spain, including the ideological links between the political situations of both countries. In pre-Civil War Spain, the revolutionary atmosphere changed the mood, subject matter and style of literature, and certain writers, recognizing their civic duty, began to produce literature that had a socially critical and didactic role. During that period, given the political context and the development of politically committed literature, Spanish intellectuals and artists of a Marxist persuasion derived incentive from their Russian counterparts. Russian literature has traditionally been the forum for social criticism, and has had a profoundly revolutionary dimension. Pre-revolutionary writers such as Dostoevsky and Andreev have been perceived by outsiders as revolutionary writers, and, in that capacity, have enjoyed great popularity abroad, including Spain. In the Soviet era, Mayakovsky was often considered to be the "Poet of the Revolution", and Gorky was the chief spokesman in the promotion of socialist ideals in literature in the twenty years following the Revolution. In Spanish pre-Civil War fiction, both the social novel and poetry were instrumental in conveying overtly Marxist messages. The thesis concludes with a comprehensive study about certain Spanish writers and their works, in the domains of poetry and the novel, specifically seeking evidence of the impact of the literature and ideology which was emanating from Russia in the first third of the twentieth century.
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Ballardini, Anny. "Ghost Dance in 31 Movements." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/826.
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A kind of poetry that tries to understand contemporary social and philosophical issues as much as behaviors by rewriting in a poetic language the video artwork of some of the main representatives of modernism and postmodernism. Such poetry is deprived of confessional hues, any personal reference has to be ascribed to a mirroring effect by which the single person empathically absorbs and projects what is conveyed, be it stemming directly from the historical time of the artwork's making and inherited, or alive at the time of its actual viewing. By following a restructuring process started at the beginning of the twentieth century, the writing analyzes possible ways to outline developments or to underline breaking points. Poetry is seen as an active medium within the formation of societies characterized as it is by its highly introspective power, not restricted to the individual but open to all beings perceived as members of one entity.
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唐梓彬. "任昉及詩文研究 = A study of Ren Fang's life and literary works." HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1146.
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Andersson, Elvis Sofia. "Recensionernas retorik : Om könsroller i kulturjournalistiken." Thesis, Högskolan Dalarna, Litteraturvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:du-12614.
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At the centre of this study lies the question if normative gender thinking affects the way poetry gets reviewed and how the reviews are written, this in relation to both the gender of the reviewer and the poet. The study crosses three academic fields; gender studies, poetry and journalism, and is based on the cultural studies theory of media affecting and even creating the world around it. The study is based on two types of analysis. One quantitative analysis based on the thematic criticism theory about detail studies that shows bigger patterns, this analysis focuses on how the poet and his/hers work are being treated in the reviews in areas such as how much space they´re given in the newspapers, how they are named by the reviewer and the tendency to quote the reviewed work. And one qualitative analysis based on the new criticism method of close reading, that focuses on the reviewers way of writing and how that may be connected with theories of gender differences, this both connected to the gender of the reviewers and the poets. The material chosen for this study are all the reviews that were published in the same newspapers and that reviewed two specific poetry works by two specific poets chosen with great sensibility to age and career so that their difference in gender would be the most significant difference between them. The works were chosen based on year of publishing, they were supposed to be published as newly as possible and as close to each other in time as possible. The works I ended up with were Dimman av allt (2001) and Svart som silver (2008) by Bruno K. Öijer and Silverskåp (2000) and Nu försvinner vi eller ingår (2007) by Birgitta Lillpers. The results of this study show several differences in how poetry is being judged and how poetry reviews are being written are connected with the gender of the poets and the reviewer. Lillpers got 35% less space in the newspapers and Öijers poetry got quoted a lot more which confirms that female poetry often is considered as less important than the male poetry, and that men in general tends to be judged as more professional than woman. The male reviewers tended to express themselves with greater certainty than the female reviewers who held a more professional tone in their reviews and focused more on the technical aspects of the poetry. This confirms the theory of the male words are being looked upon as the truth but contradicts the theory of women writing more based on personal experience and of women being less skilled in language techniques. In conclusion, there are differences in how poetry gets reviewed and how the reviews are written that are connected to the genders of the poet and the reviewer but these differences are complex and does not show a clear normative way of thinking about gender
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Masters, Kenneth Andrew. "Observing and describing textual "reality": a critique of the claims to objective reality and authentication in new critical and structuralist literary theory, seen against a background of Feyerabend's ideas concerning paradigms, dominance and ideology." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002290.
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This thesis sets out to examine the claims to objective reality and authentication in New critical and Structuralist literary theories, concentrating on their claims to "objectivity" and "scientific validity." It examines the nature of these claims in the light of the original ideas proposed by some of the major New critics and structuralists in the development of their respective "sciences" of literary theory. Taking direction from the nature of reality and objectivity shown by the theorists, the thesis then attempts an assessment of the validity of some of the original perceptions and presuppositions concerning scientific objectivity and reality. It proposes that inconsistencies within the literary theories resulted from the theorists' inability to grasp the complexity and fluctuating nature of the borrowed terminology and principles that they were using. It does so by taking a closer look at the development of some of the more influential physical theories and the philosophical ideas raised by these developments. It then uses Feyerabend's work on paradigms, dominance and ideology to attempt an assessment of the reasons for the literary theorists' perceptions and presuppositions regarding objectivity and reality. This amounts to accounting for the specific scientific models chosen as bases, and also to accounting for the desire for the "scientific approach" at all. Its conclusions give an indication of the extent to which these original errors contributed to the theories' necessary adaptations of perspective and eventual loss of influence, and emphasises the need for the total understanding of concepts in one field by researchers in other fields, especially if those concepts are to be used by the researchers with any degree of precision.
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Forsyth, E. C. (Elliott Christopher) 1924. "La justice de Dieu : Les Tragiques d'Agrippa d'Aubigne et la Reforme protestante en France au XVIe siecle / Elliott Forsyth." Paris : H. Champion, 2005. http://hdl.handle.net/2440/38642.
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Also submitted by the author as part of application for candidature for the degree of Doctor of Letters, University of Adelaide, School of Humanities, Discipline of European Studies and Linguistics, 2006.Includes bibliographical references and index.
564 p. ;
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
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Brooks, Scott A. "To move, to please, and to teach : the new poetry and the new music, and the works of Edmund Spenser and John Milton, 1579-1674." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5034.
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By examining Renaissance criticism both literary and musical, framed in the context of the contemporaneous obsession with the works of Plato, Aristotle, and Horace, among others, this thesis identifies the parallels in poetic and musical practices of the time that coalesce to form a unified idea about the poet-as-singer, and his role in society. Edmund Spenser and John Milton, who both, in various ways, lived in periods of upheaval, identified themselves as the poet-singer, and comprehending their poetry in the context of this idea is essential to a fuller appreciation thereof. The first chapter addresses the role that the study of rhetoric and the power of oratory played in shaping attitudes about poetry, and how the importance of sound, of an innate musicality to poetry, was pivotal in the turn from quantitative to accentual-syllabic verse. In addition, the philosophical idea of music, inherited from antiquity, is explained in order elucidate the significance of “artifice” and “proportion”. With this as a backdrop, the chapters following examine first the work of Spenser, and then of Milton, demonstrating the central role that music played in the composition of their verse. Also significant, in the case of Milton, is the revolution undertaken by the Florentine Camerata around the turn of the seventeenth century, which culminated in the birth of opera. The sources employed by this group of scholars and artists are identical to those which shaped the idea of the poet-as-singer, and analysing their works in tandem yields new insights into those poems which are considered among the finest achievements in English literature.
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Muller, Sandra, and n/a. "Poetics in the digital age : media-specific analysis of experimental poetry on and off the screen." University of Otago. Department of English, 2009. http://adt.otago.ac.nz./public/adt-NZDU20090501.132423.
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As an alternative to print media, digital media make us newly aware of the materiality of experimental poetic texts and require us to account for their media-specific differences. Although already several theoretical models have been put forward to define these differences, so far few poems have been analyzed in terms of their media-specific textual materiality. This thesis seeks to fill this gap in the applied media-specific analysis of experimental poetry. It combines traditional close reading with a media-specific approach in order to investigate the relationship between the physical characteristics and signifying strategies of four experimental poetic texts in various digital and non-digital media. It critically interrogates the specific use of the given medium in each poem, and illustrates that their respective textual materiality cannot be specified in advance based on general assumptions concerning the medium in question. A digital poem is not inherently more innovative than a non-digital poem. Rather, a poem is perceived as innovative if it resists conventional reading strategies by establishing a particularly complex, dynamic, and effectively anomalous sense of textual materiality, which necessarily only emerges from the direct interplay among text, object, and reader.
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Sá, Marina Damasceno de. "A poetagem bonita: edição e estudo de livro inédito de Mário de Andrade." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-21022019-130808/.
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Esta tese teve como objetivo concretizar a edição de texto fidedigno e anotada de A poetagem bonita, obra idealizada por Mário de Andrade (1893-1945), segundo se depreende de indicação do autor modernista no Fichário Analítico, manuscrito preservado em seu Fundo pessoal, no Instituto de Estudos Brasileiros da Universidade de São Paulo (IEB-USP). A obra, não levada a termo, previa a reunião de artigos de crítica literária, divulgados em periódicos nos anos de 1920 e 1930, tematizando a poesia de vanguarda. Os artigos, localizados e organizados pela pesquisa, oferecem uma reflexão do autor sobre a produção poética no modernismo. A pesquisa se propôs a realizar uma avaliação crítica do material, detectando os principais temas abordados e as linhas de força do pensamento estético de Mário de Andrade; pretendeu ainda ampliar o conhecimento da produção modernista.This thesis aims to research, organize, and prepare the critical edition of articles of literary criticism by Mário de Andrade that focus predominantly on Brazilian Modernist poetry, published in the 1920s and 1930s. These articles are relevant to studies of Brazilian Modernism because they bring to light Mário de Andrade\'s critical reflection on the movement, in the heat of the \"first moment of Modernism.\" This dissertation has a twofold aim: it establishes a reliable and annotated edition of a proposed collection of essays of criticism by Mário de Andrade, whose history and general outline are preserved in the writers archives, and proceeds to undertake a critical study of the material. By bringing greater visibility to documents that are now to be found in Mário de Andrade\'s library and papers, which have been deposited in the Instituto de Estudos Brasileiros da Universidade de São Paulo, this dissertation contributes to expanding our understanding of the historical reception of Brazilian Modernism.
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Fajardo, Luís Cláudio Costa. "Reflexos Poéticos: diálogos entre Apollinaire, Neoconcretismo, Poema/Processo e a poesia eletrônica de Erthos Albino de Souza, Fernando Nabais, Giselle Beiguelman e Rui Torres." Universidade Federal de Juiz de Fora (UFJF), 2014. https://repositorio.ufjf.br/jspui/handle/ufjf/4645.
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Esta tese sustenta a hipótese de que o Neoconcretismo e o Poema/Processo, movimentos artísticos e poéticos brasileiros, introduziram conceitos estéticos capazes de fundamentar uma abordagem crítica para a poesia eletrônica. Tal abordagem baseia-se na identificação de três pontos fundamentais comuns entre os movimentos citados e os poemas eletrônicos: a fusão entre os signos verbal e visual na poesia, o corpo físico do espectador como agente na fruição estética e a participação do leitor em processos de criação poética. A investigação teórica realiza-se através da análise de poemas eletrônicos de autores brasileiros e portugueses. Nesta perspectiva, são investigadas as relações destas experiências poéticas eletrônicas com poemas visuais representantes das vanguardas artísticas europeias do início do século XX e com os movimentos pós-concretistas no Brasil, mais especificamente, o Neoconcretismo e o Poema/Processo. O corpus é formado por experiências poéticas eletrônicas de Erthos Albino de Souza, Fernando Nabais, Giselle Beiguelman e Rui Torres.
This doctoral dissertation tries to prove the hypothesis that Neoconcretism and Process Poetry, Brazilian artistic and poetic movements, introduced aesthetic concepts capable of justifying a critical approach to electronic poetry. This approach is based on identifying three fundamental common points between the aforementioned movements and electronic poems: the encounter between the verbal and visual signs in poetry, the physical body of the viewer as agent in aesthetic fruition and the reader´s participation in the creating poetic process. The theoretical research was carried out through the analysis of some Brazilian and Portuguese electronic poems. From this perspective, we attempted to investigate the relationships between the poetic experiences with electronic visual poems which represent the European avant-garde movements of the early twentieth century and the post-concretists movements in Brazil, more precisely Neoconcretism and and Process Poetry. The corpus is made up by some electronics poetic experiences created by Erthos Albino de Souza, Fernando Nabais, Giselle Beiguelman, and Rui Torres.
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Pulkkinen, V. (Veijo). "Epäilyksen estetiikka:tekstuaalinen variaatio ja kirjallisen teoksen identiteetti." Doctoral thesis, University of Oulu, 2010. http://urn.fi/urn:isbn:9789514262098.
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Abstract Literary criticism lost its connection with textual criticism as formalist theories gained ground after the 1950s. The formalist conceptions of the autonomy of the literary work, however, have been subsequently questioned while the relationship between literary and textual criticism has remained distant. The present study searches for the historical reasons for this, and with the help of literary philosophy strives to revive the vanished relationship by demonstrating the essential signification of textual criticism to literary criticism. In the Anglo-American context the literary critics’ disinterest in textual criticism has been explained away as a vestige of New Critical literary theory. The present study brings a new interdisciplinary viewpoint to this discussion by showing that Analytic Aesthetics has had a central role in maintaining the separation of textual criticism and literary criticism. By examining prominent theories of the ontology of the literary work the study reveals a tradition of a monolithic conception of the literary work within Analytic Aesthetics that considers the literary work to have only one stable text. In this tradition different phenomena of textual variation are marginalised as inessential to the identity of the work. By the same token, textual criticism is cast out from the field of literary criticism as being aesthetically insignificant. The study criticises the monolithic tradition for its historically limited conception of the work, one that is grounded in the invention of print and the modern conception of the author. This conception does not take into account the historically and constantly changing media of production, recording and transmitting that affects the relationship between the concepts of work and text. The monolithic conception is wholly unsuitable for the thinking of the works of oral literature, medieval manuscript culture and contemporary hypertexts. Neither does it work well with printed literature. This study demonstrates how this conception of the work supports a blind faith approach to the stability of the printed text that gives a completely false impression of the historical nature of the literary work. According to this study literary criticism should be based on an aesthetic of suspicion that approaches every text with a critical attitude. The literary critic should examine the history of textual transmission of the work under study and only then determine and justify from the viewpoint of the given research frame the selection of which text versions the work’s interpretation is based on. By examining unpublished as well as published versions of Aaro Hellaakoski’s Me kaksi, the present study demonstrates in practice how taking textual variation into account produces interpretations of the work that would not otherwise be possible when working only with a single text versionTiivistelmä Kirjallisuudentutkimus kadotti yhteyden tekstikritiikkiin formalististen teorioiden yleistyessä 1950-luvun jälkeen. Sittemmin formalistiset käsitykset teoksen historiattomuudesta ja autonomisuudesta on kyseenalaistettu, mutta suhde tekstikritiikkiin on jäänyt etäiseksi. Käsillä olevassa tutkimuksessa etsitään historiallisia syitä tähän ja pyritään elvyttämään näiden tutkimusalojen vuorovaikutusta osoittamalla kirjallisuuden filosofian keinoin tekstikritiikin olennainen merkitys kirjallisuudentutkimukselle. Angloamerikkalaisessa kontekstissa kirjallisuudentutkijoiden välinpitämättömyyden tekstikritiikkiä kohtaan on selitetty periytyvän uuskriittisestä kirjallisuusteoriasta. Tämä tutkimus tuo keskusteluun uuden poikkitieteellisen näkökulman osoittamalla, että analyyttinen estetiikka on ollut keskeinen tekijä tekstikritiikin ja kirjallisuudentutkimuksen välisen erottelun ylläpitämisessä. Tarkastelemalla keskeisiä kirjallisen teoksen ontologian teorioita tutkimus paljastaa analyyttisessa estetiikassa vallitsevan monoliittisen teoskäsityksen tradition, jossa teoksella ajatellaan olevan vain yksi muuttumaton teksti. Tässä traditiossa erilaiset tekstuaalisen variaation ilmiöt marginalisoidaan teoksen identiteetin kannalta epäolennaisina. Samalla tekstikriittinen tutkimus rajataan pois kirjallisuudentutkimuksen alueelta esteettisesti merkityksettömänä. Tutkimus kritisoi monoliittisen tradition historiallisesti rajoittunutta teoskäsitystä, joka pohjautuu kirjapainotekniikkaan ja moderniin tekijäkäsitykseen. Tämä teoskäsitys ei huomioi teoksen historiallisesti muuttuvien tuottamisen, tallentamisen ja välittämisen välineiden vaikutusta teoksen ja tekstin suhteeseen. Monoliittinen teoskäsitys ei sovellu esimerkiksi suullisen runouden, keskiajan käsikirjoituskulttuurin tai nykyajan hypertekstien tekstuaalisuuden ajattelemiseen, muttei myöskään painetun kirjallisuuden tekstuaalisuuteen. Tutkimus osoittaa, miten tämä teoskäsitys ylläpitää sokeaa luottamusta painettuun tekstiin, joka antaa virheellisen kuvan kirjallisen teoksen historiallisesta luonteesta. Tutkimuksen mukaan kirjallisuudentutkimuksen tulisi perustua epäilyksen estetiikkaan, jossa jokaiseen tekstiin suhtaudutaan kriittisesti. Kirjallisuudentutkijan olisi selvitettävä tutkimansa teoksen tekstuaalisen transmission historia sekä määritettävä ja perusteltava tutkimusongelmansa näkökulmasta mihin teoksen tekstiversioihin hän perustaa tulkintansa. Tarkastelemalla Aaro Hellaakosken Me kaksi -runoelman julkaisemattomia ja julkaistuja versioita tutkimuksessa osoitetaan käytännössä, miten tekstuaalisen variaation huomioiminen tuottaa tulkintoja teoksesta, jotka eivät olisi mahdollisia yksittäisen tekstiversion pohjalta
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Slagle, Judith Bailey. "Literary Activism: James Montgomery, Joanna Baillie, and the Plight of Britain’s Chimney Sweeps." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/720.
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Excerpt: On 6 February 1824, Joanna Baillie Notified Her Friend Walter Scott that Scottish poet James Montgomery, then living in Sherrield, England, had written to ask her for a poem on the plight on chimney sweeps, also known as climbing boys.
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Becker, Charity Dawn. "Constructing the mother-tongue, language in the poetry of Dionne Brand, Claire Harris, and Marlene Nourbese Philip." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0016/MQ54604.pdf.
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Oliveira, Edmon Neto de. "Militância poética – indiscernibilidade entre poesia, crítica e filosofia na escrita de Alberto Pucheu." Universidade Federal de Juiz de Fora, 2014. https://repositorio.ufjf.br/jspui/handle/ufjf/539.
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FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais
A presente pesquisa faz uma leitura da obra de Alberto Pucheu, trazendo à luz a discussão sobre o fazer poético, crítico e filosófico, vistos como uma atitude criadora. Para o autor, existe uma indistinção entre poesia e filosofia, assim como entre poesia e crítica, que são saberes que se encontram em um “desguarnecimento de fronteiras”, cujo encontro se dá no interior da própria criação. Nessa perspectiva híbrida, buscar-se-á compreender a maneira pela qual ocorre a fusão entre esses campos, privilegiando o pensamento de pós-estruturalistas, como Roland Barthes, Gilles Deleuze e Giorgio Agamben, pensando, por conseguinte, na relação estabelecida entre homem e cidade, imagem e conceito, assim como na aproximação entre corpo e máquina, real e linguagem.
This research takes a reading of the work of Alberto Pucheu, bringing to light the discussion on the poetic, critical and philosophical work, seen as a creative attitude. For the author, there is a lack of distinction between poetry and philosophy, and between poetry and criticism which are knowledges that are in a "dissolving boundaries", whose encounter takes place within the creation itself. In this hybrid approach, will seek to understand the way in which the merger occurs between these fields, focusing on the post-structuralist thought, as Roland Barthes, Gilles Deleuze and Giorgio Agamben, thinking, therefore, the relationship between man and city, image and concept, as well as the rapprochement between body and machine, real and language.
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Siegel, Eric Mitchell. "Reading the public comment : the keystone XL pipeline and future of environmental writing." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4754.
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In the lead up to the 2011 official U.S. State Department decision on the proposed Keystone XL pipeline--running from the Alberta, Canada Tar Sands to the Gulf of Mexico--the Department held nine public meetings in Fall 2011 in the six U.S. states through which the proposed Keystone XL pipeline project would pass (the Department rejected the proposal; however, a new proposal is under consideration as of this writing). The transcripts of these public meetings are publicly accessible.
Understanding the pipeline as a project of trans-national trade and the global circulation of petrochemicals--including global emissions of carbon dioxide--this paper hones in on one region within one U.S. state: the Nebraskan Sandhills, a cattle ranching region of grass-stabilized sand dunes and inter-dunal valleys stretching 20,000-square miles across the north-central part of the state, under which rests a vast hydrological network, including the largest freshwater aquifer in the world - the Ogallala Aquifer.
This essay argues that we can read the Public Comments as a form of poetic expression, paying attention to the ways the State Department transcription process formatted the oral testimonies into an "official" and sanctioned public document -- instituting line-breaks and other syntactical procedures. Using the tools of literary-critical analysis, this paper makes a case that we can read the Comments as a form of documentary poetry - in the tradition of such American modernist poets as Charles Reznikoff, Muriel Rukeyser, and George Oppen - that explore ecological questions while experimenting with lyric structures. The Comments reveal competing environmental stakeholders' stances - on such topics as Prairie systems ecology and the neoliberal economics of private-public capital markets. In doing so, they subsequently express citizens' various understandings of themselves in relation to landscape, ecology, technology, and geo-politics.
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Baldow, Virg?nia Maria Ferreira Silveira. "A genuinidade de textos liter?rios em livros did?ticos de L?ngua Portuguesa." Universidade Estadual de Feira de Santana, 2013. http://localhost:8080/tede/handle/tede/224.
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The proposed work aims to reflect on the reliability of literary texts as they occur in certain Portuguese Language Textbook. Thus, our corpus is constituted of twelve literary texts transcribed in Portuguese language textbooks, adopted in schools of elementary and middle. We analyze specifically the authenticity of such texts, following the theoretical and methodological assumptions of Textual Criticism, science whose essential character is the preservation of written culture. Our investigation was based on the corpus is eminently comparative analysis of texts in comparison with the published texts by writers. We focus on observing the structural and / or lexicogrammatical and therefore semantic speech transcription of these texts. Allied to these issues, we will discuss about the inclusion of literature in the school curriculum, discussing the process of didactization the literary text and the consequences resulting from this act. Data analysis revealed the existence of many differences between literary texts published in its sphere of origin and the texts inserted in textbooks. We note that the texts were violated in order to fulfill the purposes of didactization, disregarding not only the author of the literary text but also the reader in training.
O trabalho proposto busca refletir sobre a confiabilidade de textos liter?rios tal como se apresentam em determinados Livros Did?ticos de L?ngua Portuguesa. Desta forma, o nosso corpus se constitui de doze textos liter?rios transcritos em livros did?ticos de l?ngua portuguesa, adotados em escolas de n?vel fundamental e m?dio. Analisamos, especificamente, a autenticidade de tais textos, seguindo os pressupostos te?rico-metodol?gicos da Cr?tica Textual, ci?ncia cujo car?ter essencial ? a preserva??o da cultura escrita. Nossa investiga??o do corpus se pautou em uma an?lise eminentemente comparativa dos textos em cotejo com os textos publicados pelos escritores. Concentramo-nos em observar os aspectos estruturais e/ou l?xico-gramaticais e, por conseguinte, sem?nticos do discurso na transcri??o dos referidos textos. Aliada a essas quest?es, debateremos sobre a inser??o da literatura ao curr?culo escolar, discutindo sobre o processo da didatiza??o do texto liter?rio e as consequ?ncias advindas deste ato. A an?lise dos dados revelou a exist?ncia de muitas diverg?ncias entre os textos liter?rios publicados em sua esfera de origem e os textos inseridos nos livros did?ticos. Observamos que os textos foram transgredidos de forma a atender aos prop?sitos da didatiza??o, desconsiderando n?o somente o autor do texto liter?rio como tamb?m o leitor em forma??o.
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Cossu, Angela. "Les florilèges prosodiques et la transmission des poètes latins au Moyen Âge." Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEP064.
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Dès les IIIe-IVe s., la sensibilité des latinophones à la quantité des syllabes s'était progressivement perdue. La connaissance de la prosodie étant cruciale pour la lecture et la composition en latin, les médiévaux conçurent la solution des florilèges prosodiques, des recueils fonctionnels à l'apprentissage, composés de vers latins classiques et médiévaux, tirés des auteurs scolaires (Virgile, Ovide, Perse, Juvénal Stace, Prudence, etc.). Instruments à la fois d'enseignement et d'apprentissage, ces florilèges ont été transmis en 6 recueils différents à partir du IXe siècle. Cette thèse porte sur l'édition critique de ce corpus, base solide pour une nouvelle étude sur l'origine de ces instruments, leurs compilateurs et les milieux d'utilisation. L'édition sera le point de départ pour étudier la circulation des poètes latins au Moyen Age, mettant en lumière les réseaux de la transmission textuelle et les pratiques culturelles liées à la poésie latineFrom the 3th and 4th century of our age, the quantitative rhythm of the Latin language changed into an accentual rhythm, and the perception for the syllabic quantity of Latin words disappeared. Since knowledge of prosody is crucial for reading and writing in Latin, Medieval school teachers invented the prosodic florilegia, i.e. lists of classical and Medieval Latin verses from the most studied authors (Vergil, Ovid, Persius, Juvenal, Statius, Prudentius, etc.). Today we possess 6 different florilegia from the 9th century, which are both teaching and learning tools. My thesis consists of a critical edition of the corpus of the florilegia which endeavours to be a solid base for further study of these texts, of their compilers, and of the context in which they were used. The present critical edition will also be the starting point for investigating the circulation of Latin poets in the Middle Ages, and for highlighting networks of textual transmission and cultural practices connected to Latin poetry
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Hayashi, Gabriel José Innocentini. "Tensões críticas e culturais em Rilke shake de Angélica Freitas." Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/4729.
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Previous issue date: 2014-08-22Universidade Federal de Minas Gerais
The object of this dissertation is the book of poems Rilke shake, by Angelica Freitas, and the main question that guided our research was: What are the critical and fundamental cultural issues that inform Angelica Freitas s poetical production in Rilke shake? With this question in mind two objectives were followed: a) to accomplish the reading and analysis of the poems and b) to discuss how the tensions between the poetic tradition and the contemporary world are articulated in the poems. These two objectives were interrelated and linked to enable us to create an interpretative key of Rilke shake. Angelica Freitas establishes a dialogue with European, North American and Brazilian modernist traditions and her work shows a belonging to the post-modern world. Eight Poems from the book were discussed in the attempt at investigating which elements indicate such a dialogue. The cultural system in which Freitas s work takes part and constitutes one of the representative examples was then discussed. Our aim was to show that discussing Rilke shake meant also discussing how contemporary critical thinking looks at contemporary poetry, setting the dialectical movement from the particular to the general and back. The systemic approach offers the reader a larger view, allowing him to understand the importance and the value of Rilke shake inside the discussions concerning contemporary poetry.
Esta dissertação tem como objeto de pesquisa o livro de poemas Rilke shake, de Angélica Freitas. Na introdução, o problema de pesquisa foi enunciado nos seguintes termos: Quais as questões críticas e culturais fundamentais que informam a produção poética de Angélica Freitas em Rilke shake? Os objetivos foram interligados e organizados conjuntamente para a construção de uma chave interpretativa de Rilke shake: (a) realizar a leitura e a análise dos poemas; e (b) discutir de que forma se articulam as tensões nos poemas por meio do diálogo com a tradição poética e com o mundo contemporâneo. Discutiram-se oito poemas; investigou-se como se dá o diálogo de Angélica Freitas com a tradição modernista europeia, norte-americana e brasileira e como sua obra sinaliza um pertencimento ao mundo pós-moderno, verificando quais elementos indicam tal relação. Em seguida, a discussão derivou para o sistema cultural do qual a obra de Freitas participa e se constitui como um dos exemplos representativos. Dessa maneira, discutir a obra Rilke shake significou também discutir o modo como a crítica contemporânea pensa a poesia contemporânea, configurando o movimento dialético do particular para o geral e retornando ao particular. A abordagem sistêmica oferta ao leitor uma visada mais ampla, permitindo-lhe compreender a importância e o valor de Rilke shake no interior das discussões relativas às obras contemporâneas.