Academic literature on the topic 'Portuguese poetry of the twentieth century'
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Journal articles on the topic "Portuguese poetry of the twentieth century"
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Cardoso, Inês. "FIGURAÇÕES DO FEMININO NA POESIA ERÓTICA DE ALBERTO PIMENTA." Revista Desassossego, no. 17 (December 28, 2017): 183–97. http://dx.doi.org/10.11606/issn.2175-3180.v0i17p183-197.
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Resumo: Pensar a erotização do corpo feminino na poesia portuguesa da segunda metade do século XX exige a revisitação de uma nova imagem da mulher, que à altura se apresentou espelhada numa visão libertária da sexualidade feminina e na ação reivindicativa da luta feminista. Partindo das três primeiras obras de Alberto Pimenta, cuja publicação coincidiu, em território nacional, com o período de vigência do Estado Novo, este artigo procura compreender o modo como as figuras femininas emergem num fazer poético onde o erotismo sempre caminhou a par de uma denúncia profundamente cáustica e irreverente.Palavras-chave: Alberto Pimenta, poesia portuguesa, poesia erótica, figurações do feminino, erotismo. Abstract: In order to contemplate the eroticisation of the female body in Portuguese poetry from the second half of the twentieth century, it is necessary to re-visit the new image of woman, which at that time was reflected in a libertarian vision of female sexuality and in the increasing activism of the feminist struggle. Focusing on the first three works of Alberto Pimenta, whose publication coincided, in the Portuguese context, with the “Estado Novo” dictatorship, this article seeks to understand the way in which female figures emerge from a poetic practice where eroticism always appeared in tandem with a deeply caustic and irreverent social criticism.Keywords: Alberto Pimenta, Portuguese poetry, erotic poetry, representations of the feminine, eroticism.
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Athayde, Manaíra Aires. "Influências de Manuel Bandeira, Carlos Drummond de Andrade e João Cabral de Melo Neto na poesia de Ruy Belo." Revista do Centro de Estudos Portugueses 33, no. 50 (2013): 11. http://dx.doi.org/10.17851/2359-0076.33.50.11-56.
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<p>Este ensaio tem o objetivo de reconhecer influências de três dos principais poetas brasileiros do século XX na poesia de Ruy Belo, tentando perceber de que forma as produções de Manuel Bandeira, Carlos Drummond de Andrade e João Cabral de Melo Neto foram assimiladas nos mecanismos de criação do poeta português. Reflete-se sobre várias dinâmicas de intertextualidade, voluntárias e não voluntárias, desde relações de ordem temática, ecfrástica ou de transposição poética, contextualizando-as no discurso poético de Ruy Belo.</p><p>This essay aims to recognize influences of three major Brazilian poets of the twentieth century in the poetry of Ruy Belo, trying to understand how the production of Manuel Bandeira, Carlos Drummond de Andrade and João Cabral de Melo Neto was assimilated into mechanisms of creation of the Portuguese poet. It is reflected on various dynamics of intertextuality, voluntary and non-voluntary, as thematic relations, ekphrastic or poetic transposition, contextualizing them in the poetic discourse of Ruy Belo.</p>
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Pinto, Isabel. "The Body Move: Revising Portuguese Female Poetry of the First Quarter of the Twentieth Century." Rupkatha Journal on Interdisciplinary Studies in Humanities 8, no. 4 (2017): 30–44. http://dx.doi.org/10.21659/rupkatha.v8n4.05.
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Paul, Sarah. "Strategic Self-Centering and the Female Narrator: Elizabeth Barrett Browning's Sonnets from the Portuguese." Browning Institute Studies 17 (1989): 75–91. http://dx.doi.org/10.1017/s0092472500002686.
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As the first love sonnet sequence written by a woman in English, Elizabeth Barrett Browning's Sonnets from the Portuguese challenged the conventions of amatory poetry when it was published in 1850. The genre, which had always required its female inhabitants to maintain an aloof and icy silence, was not accustomed to female voices. Certainly a speaker like the narrator of Barrett Browning's sonnets, loudly proclaiming her right to adopt postures of adoration and unworthiness toward a male love object, had never before disturbed its rarefied spaces. The radical nature of the work, however, seems to have been lost on its nineteenth-century audience. Victorian readers saw nothing shocking or immodest about the sonnets and actually admired them a great deal, particularly because they seemed, oddly enough, to uphold an idealized model of devout and reticent femininity. Hall Caine called them “essentially feminine in their hyper-refinement, in their intense tremulous spirituality” (310–11), while Eric Robertson wrote that “no woman's heart indeed was ever laid barer to us, but no heart could have laid itself bare more purely” (281). Twelve years later Edmund Gosse spoke of the cycle's “noble dignity,” “stainless harmony,” and “high ethical level of distinguished utterance” (11, 21). Neither these nor any other nineteenth- or early twentieth-century critic saw anything revolutionary in the sequence. Only in the past dozen years have feminist critics re-evaluating Sonnets from the Portuguese discovered within its self-deprecating stanzas an “enterprise of heroinism” asserting a woman's “right” to be the active subject of both poetry and feeling rather than their passive object.
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Morlier, Margaret M. "SONNETS FROM THE PORTUGUESE AND THE POLITICS OF RHYME." Victorian Literature and Culture 27, no. 1 (1999): 97–112. http://dx.doi.org/10.1017/s1060150399271057.
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ALTHOUGH VICTORIAN REVIEWERS uniformly praised Elizabeth Barrett Browning for the “sincere” poetic voice of Sonnets from the Portuguese, they often blamed her for faulty craft. In structure and rhyme scheme the poems in the sequence recall the Petrarchan tradition, suggesting the idealized love that accompanies it, yet their varied syntax and diction seem more conversational than ideal. Enjambment usually destroys the integrity of octave and sestet. Then in the Sonnets Barrett Browning continued her use of odd rhymes, which had been raising critical eyebrows since earlier poems. For example, in the most famous sonnet — XLIII, “How do I love thee?” — Barrett Browning rhymed the noun phrase “put to use” (9) with the infinitive “to lose” (11) and rhymed “faith” (10) with “breath” (12). Victorian reviewers, somewhat disoriented, offered a variety of explanations for these apparent technical lapses. Some attributed them to a defective ear for music (“Review of Poems” 278; [Massey] 517).1 George Saintsbury — taking the lead from the controversy over the “cockney school” of poetry — reproved Barrett Browning, born to the educated classes, for relying out of laziness on vulgar pronunciation to force rhymes instead of taking the time to discover correct ones (280–81). Even her poet-friend and correspondent, Mary Russell Mitford, wondered if isolation at Wimpole Street had led to an overly narrow experience with proper pronunciation of English (reported in Horne 458; see also Hayter 38–39). Victorian reproofs and anecdotes like these followed Barrett Browning’s work into the formalist twentieth century.
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Cascudo, Teresa. "The Musical Salon of the Countess of Proença-a-Velha in Lisbon: A Case of Patronage and Activism at the Turn of the Twentieth Century." Nineteenth-Century Music Review 14, no. 2 (2017): 195–210. http://dx.doi.org/10.1017/s1479409816000070.
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This article seeks to shed light on the musical activities sponsored in Lisbon by women of high society, and specifically on the organization of the concerts produced by the Countess of Proença-a-Velha (1864–1944) in Lisbon at the turn of the ninteenth and the twentieth centuries. Between 1899 and 1903, the Countess held nine musical soirées and matinées at her home, and organized the first season of the Sociedade Artística de Concertos de Canto (Artistic Singing Concerts Society), which she founded. She also composed and premiered about 30 vocal works with piano accompaniment. Although both the number of events and her catalogue are small in size, they form an important window on turn-of-the-century Portuguese culture. Her decisions to focus on the repertoire of lyrical music and feature performances mainly by women was in stark contrast to the deeply masculine nature of the musical organizations active in Lisbon during the period. This article also explores the ideological dimension of her activities. An examination of the vocal pieces performed at the countess’ concerts shows that she intentionally explored four interrelated concepts of music: modern music, religious music, early music and Portuguese music. Some of her songs took part in the construction of what she considered to be a Portuguese national music inspired by Portuguese national poetry. The programmes the countess devised presented both a social and political dimension, proposing an elitist model for female socialization based upon the idea of the utility of cultural involvement and vindicating the role of tradition and, in particular, national tradition.
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Gullón, Ricardo, and David Draper Clark. "Twentieth-Century Spanish Poetry." World Literature Today 59, no. 2 (1985): 207. http://dx.doi.org/10.2307/40141455.
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Terras, Victor, John Glad, and Daniel Weissbort. "Twentieth-Century Russian Poetry." World Literature Today 67, no. 1 (1993): 204. http://dx.doi.org/10.2307/40148985.
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Kates, Jim. "Twentieth-Century Russian Poetry." Translation Review 42-43, no. 1 (1993): 53–55. http://dx.doi.org/10.1080/07374836.1993.10523607.
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Lloyd, David T., and Dannie Abse. "Twentieth Century Anglo-Welsh Poetry." World Literature Today 72, no. 3 (1998): 625. http://dx.doi.org/10.2307/40154124.
Full textDissertations / Theses on the topic "Portuguese poetry of the twentieth century"
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Matore, Daniel. "Experimental typography in twentieth-century poetry." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:34bd524a-74ec-467d-8f70-0b0e825de0e5.
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Experimental Typography in Twentieth-Century Poetry, by Daniel Matore, New College, University of Oxford. A thesis submitted for examination for the degree of Doctor of Philosophy in English Literature in Hilary Term, 2017. This thesis is a study of the typographical experimentation in the verse of twentieth-century poets writing in English. Typography and poetics, it contends, became indissolubly linked in the last century, and this work traces why this is so. It chiefly deals with poetry written roughly in the period 1908 to 1970, rooted in the work of Ezra Pound, E.E. Cummings, and Charles Olson, but with substantial considerations of poets such as Marianne Moore, William Carlos Williams, and David Jones. Typographical experiment in European languages, particularly the work of Stéphane Mallarme, Guillaume Apollinaire, and F.T. Marinetti, is recurrently invoked to comprehend the idiosyncrasies of the graphical innovations of British and American poets. At the heart of this thesis is the question of why so many poets throughout the last century employed typography as a signatory part of their style. It hopes to show how authorships and the span of a poet's career can be read through their typography. Its methodology is eclectic. Archival research into manuscripts, drafts, typescripts, and proofs has provided the empirical groundwork as well as interpretative insights. Essays and periodical articles are drawn upon to trace the intellectual history which informs literary style. Close reading, sometimes within the parameters of established stylistic vocabulary and sometimes at the limits of this, is undertaken to illuminate the expressive possibilities of typographical form. The introduction prefigures the debates and motifs of typographical experiment through the seminal work of Stéphane Mallarmé. It considers whether there was a typographical revolution in poetry in English at the start of the last century and examines how the advents of free verse and experimental mise-en-page intersected. Chapter 1 traces the foundational importance of Ezra Pound in the genealogy of typographical experiment in English. His graphical innovations are read through lenses such as musicology, psychophysics, and ophthalmology. Chapter 2 considers the audacious and celebrated visuality of E.E. Cummings, focussing on his early unpublished experiments, his debut volume Tulips and Chimneys (1923), and his 1935 collection No Thanks. How sexuality and the material text interrelate is examined, and his typography is interpreted through his theories of reading. Chapter 3 is concerned with the post-war experiments of Charles Olson, especially his magnum opus The Maximus Poems. The respective vocations of the poet and the typographer are examined through his relationships with printers and designers, and the influence of philosophies of space on his poetics is explored. The conclusion situates modernist experiment in relation to the aesthetics of graphic design. The categories of printing reformers and reactionaries are employed to cast into relief the idiosyncrasy of typographical experimentation in poetry.
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Lind, Joshua. "Desire and Subjectivity in Twentieth Century American Poetry." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/17889.
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Many studies of American poetry view modernism as an eruption of formal and technical innovations that respond to momentous cultural and political changes, but few attempt to consider the flow and restriction of desire among these changes. This dissertation argues that American modernist poets construct models of desire based on the rejection of sensual objects and a subsequent redirection of desire toward the self and the creative mind. In addition, these models of desire result in a conception of subjects as whole, discrete, and isolated.
In the first chapter, I distinguish between Walt Whitman's sensualist model of desire and Emily Dickinson's intellectualist mode that defers satisfaction. I contend that Ezra Pound, Wallace Stevens, T. S. Eliot, and H.D. (Hilda Doolittle) develop from Dickinson's perspective of deferred satisfaction to an outright rejection of physical desire. The manner and implications of this reorganization of desire differ among these poets, as do the poetic techniques they utilize, but underlying these differences is a related refusal to pursue objects of sensual pleasure. Pound withdraws desire from the world by turning objects into static images; desire is then able to flourish in the creative mind. Stevens allows the imagination to remake the world, creating manifold abstractions for subjects who otherwise reject sensuality.
The second chapter provides a close reading of Eliot's The Waste Land to show how the presentation of sexual futility leads to a poetic experience of separation as a means of spiritual reformation. The third chapter reads H.D.'s Trilogy as a contemplation of the destruction of World War II and the persistent, unified self that outlasts it. Rather than interacting with this devastated world, H.D. insists that desire must be redirected toward the effort of spiritual redemption. In the fourth chapter, Elizabeth Bishop begins to question the deliberate rejection of the world. She sees a world that reasserts itself and imagines a subject who, though still yearning for unity, must admit an inescapably physical environment. The conclusion considers how postwar American poets continue to dissolve the subject and release desire into the world, emphasizing the present moment rather than a lasting, unified self.
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Brozovich, Lauren Kaye. "Environmental Spiral: Scientific Mediation in Twentieth-Century American Poetry." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11017.
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This dissertation asks how the heightening of artistic and scientific mediation has affected the representation of the environment in modernist and contemporary American poetry. In chapters on Marianne Moore, A.R. Ammons, and Jorie Graham, I contend that the twentieth century sees a crucial shift in the representation of the environment, as poets become increasingly attentive to the self-reflexive non-transparency of their own medium and incorporate the mediating discourse of science into their work. While science has served as a source for poetic imagery for centuries, suddenly in the twentieth century, mathematical equations--expressed entirely in symbols--appear in the middle of poems, and qualitative scientific language, remarkable for its opacity to the non-specialist, is woven into the texture of verse. Writing at the height of High Modernism, Moore is fascinated by natural history's fusion of art and science. For Moore, the mimetic copies displayed in natural history museums (for instance, glass flowers) reveal things about real creatures that an unmediated encounter could not. Her incorporation of replicas of natural creatures into her poems about real environments enables her to evoke what I term the "synthetic" super-real. In the early 1960s, Ammons is intrigued by the latest scientific discoveries, especially the mathematical modeling of nonlinear dynamical systems. While philosophers have argued that the poet and the scientist occupy separate spheres, Ammons fuses mathematical modeling and sensuous description. His hybrid poetic style enables him to represent the temporal evolution of nonlinear dynamical systems and the operation of forces within a field. In Sea Change, Graham, writing in the imagined wake of future climate change, fundamentally transforms poetic representational techniques, as she creates a frame-shattering poetic form that is uncomfortably poised on the threshold between a climate model and a sensuously embodied environment. By exemplifying recourse to the mediating discourse of science, these poets extend the representational limits of their own aesthetic medium, as they pave the way for twenty-first-century poets who, with greater urgency than ever before, attempt to represent the environment in an era marked by man-made climate change.
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Johnson, Michael. "Poetry in motion : kinaesthetic effects in twentieth-century poems." Thesis, University of Nottingham, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315200.
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Radway, John North. "The Fate of Epic in Twentieth-Century American Poetry." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:26718713.
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This dissertation explores the afterlife of the Western epic tradition in the poetry of the United States of America after World War Two and in the wake of high modernism. The ancient, Classical conception of epic, as formulated by Aristotle, involves a crucial, integral opposition between ethos, or character, and mythos, or the defining features, narratives, and histories of the world through which ethos moves. The classical epic and its direct line of succession, from Homer to Virgil to Dante to Milton and even to Joel Barlow, uses the opposition between ethos and mythos to create literary tension and drive. In the first half of the twentieth century, however, Ezra Pound upended this tradition dynamic by attempting to create a new form of epic in which mythos, not ethos, was the principal agonist, and in which large-scale aspects of the political, literary, and economic world struggled for survival on their own terms, thus divorcing epic from its traditional reliance on ethos. Chapter One explores this dubious revolution in terms of Pound’s larger project of breaking away from his nineteenth century forbears. The remaining chapters comprise three case studies of the divergent ways in which later twentieth century poets sought to salvage something of the traditional epic dynamic from the ruin wracked by Pound and his acolytes. Chapter Two explores John Berryman’s 77 Dream Songs, an epic-like poem that models itself subtly on Dante’s Commedia while placing a profound and deliberate emphasis on ethos even at the expense of mythos. Chapter Three explores Robert Lowell’s career-long effort to expose the terrifyingly inexorable nature of mythos, constructing an inconceivably enormous presence against whom character and divinity alike struggle in vain. Finally, Chapter Four examines Adrienne Rich’s early and middle years as an attempt to outline and enact a politically and socially efficacious means by which ethos might finally overcome mythos and liberate itself not only from the recursive historical traps of Pound, modernism, fascism, and patriarchy, but also from the literary history and tradition that lured humanity into believing that those traps ever existed. Berryman’s intervention in the epic tradition is heavily literary and overtly personal; Lowell’s is cynical, apocalyptic, and descriptively political; and Rich’s is revolutionary and messianic. Together, these three poets represent a meaningful sampling of the afterlife of the epic tradition in late twentieth-century America.<br>English
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Duarte, Gonçalo. "Une poétique de la déflation chez Fernando Assis Pacheco et Adília Lopes." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040159/document.
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Les œuvres poétiques de Fernando Assis Pacheco (Coimbra, 1937 – Lisbonne, 1995) et d’Adília Lopes (Lisbonne, 1960) présentent des éléments communs: un sabotage du langage poétique traditionnel, une dépréciation du sujet poétique, une représentation du monde apparemment triviale. Notre proposition est que ces trois grandes caractéristiques sont liées entre elles, de par leurs modes de concrétisation et les intentions qui les sous-tendent. On y retrouve en effet un même projet de « dégonflement » – d’un langage poétique grandiloquent et ampoulé, d’un sujet lyrique prétentieux et qui se prend trop au sérieux, d’une conception du monde excessivement épurée ou tendant vers le transcendantal. Néanmoins, cette opération ne s’assimile pas à une action proprement déconstructiviste, car elle vise à transmettre à ces entités un « souffle » susceptible de leur conférer une force animique et une capacité d’intervention. C’est sur la base de ce double mouvement que nous proposons le terme de « poétique de la déflation », en choisissant une notion qui recouvre à la fois ces deux acceptions (respectivement, dans les domaines économique et géomorphologique). L’adoption du prisme de la déflation nous permettra d’examiner le modèle sous-jacent des œuvres de Fernando Assis Pacheco et d’Adília Lopes. Pour le faire, notre travail se décompose en trois parties : nous étudions successivement la façon dont ces auteurs s’engagent dans une procédure de déflation du langage poétique qu’ils utilisent (concrètement, en nous penchant sur ses formes narratives) ; du sujet lyrique qu’ils figurent (par l’analyse d’une fluidification dans la figuration de ce sujet) ; et de la conception du monde que dénote leur poésie (en nous intéressant à la dimension éthique qui y est implicite)<br>The poetic works of Fernando Assis Pacheco (Coimbra, 1937 - Lisbon, 1995) and Adília Lopes (Lisbon, 1960) have common elements: a sabotage of the traditional poetic language, an impairment of the poetic self, an apparently trivial representation of the world. Our proposal is that these three characteristics are interrelated, by their modes of realization and the intentions that underlie them. We find indeed a project of "reduction" – of the pompous and bombastic language of poetry, of a pretentious lyrical self that takes itself too seriously, of a conception of the world excessively refined or tending towards the transcendental. However, this does not amount to a proper deconstructive action because it aims to convey a sense of strength and energy to these entities a purifying "breath". On the basis of this double movement we propose the term "poetics of deflation", choosing a concept that covers both these two meanings (respectively, in the economic and geomorphic domains). Adopting the prism of deflation allow us to examine the underlying model at Fernando Assis Pacheco’s and Adília Lopes’ poetry. To do so, our work is divided into three parts: we successively study how these writers engage in a process of deflation of the poetic language they use (specifically, by looking at its narrative forms); of the lyrical self that they portray (through analysis of a fluidity in this process of portrayal); and the world view they manifest in their poetry (focusing on its ethical dimension)
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Lagapa, Jason S. "Inarticulate prayers: Irony and religion in late twentieth-century poetry." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280295.
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Inarticulate Prayers: Irony and Religion in Late Twentieth-Century Poetry examines irony and its implications for religious belief within texts ranging from the New York School Poets to the Language Poets and, in Caribbean literature, within the poems of Derek Walcott and Kamau Brathwaite. Taking Jacques Derrida's distinction between deconstruction and negative theology as a point of departure, I argue that contemporary poets employ ironic language to articulate an ambivalent, and skeptical, system of belief. In "How to Avoid Speaking: Denials," Derrida contrasts his theory of differance--as a fundamentally negative and critical mode of inquiry--with negative theology, which ultimately affirms God's being after a process of negation. My study asserts that contemporary poets, in accord with principles of negative theology, engage in inarticulate, self-canceling and negative utterances that nevertheless affirm the possibility of belief and enlightenment. By postulating the affinity between contemporary poets and the apophatic tradition, I explain how the work of these poets, despite often being dismissed as arid exercises in poststructuralist thought, productively draws on linguistic theories and also advances beyond the "negativity" of such theories. Moreover, as it intervenes in recent debates over the absence of a spiritual dimension to contemporary poetry, my dissertation opens new perspectives through which to theorize postmodern literature. Demonstrating that experiments in language and form are driven by an ironic stance towards belief, authorship and literary tradition, Inarticulate Prayers ultimately redefines contemporary lyric and narrative poetry and asserts negation, inarticulateness, and contradiction as determining characteristics of postmodern writing.
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Wakefield, Eleanor. "Extending the Line: Early Twentieth Century American Women's Sonnets." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22651.
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This dissertation rereads sonnets by three crucial but misunderstood early twentieth-century women poets at the intersection of the study of American literary history and scholarship of the sonnet as a genre, exposing and correcting a problematic loss of nuance in both narratives. Genre scholarship of the sonnet rarely extends into the twentieth century, while early twentieth-century studies tend to focus on nontraditional poem types. But in fact, as I show, formal poetry, the sonnet in particular, engaged deeply with the contemporary social issues of the period, and proved especially useful for women writers to consider the ways their identities as women and poets functioned in a world that was changing rapidly. Using the sonnet’s dialectical form, which creates tension with an internal turn, and which engages inherently with its own history, these women writers demonstrated the enduring power of the sonnet as well as their own positions as women and poets. Tying together genre and period scholarship, my dissertation corrects misreadings of Edna St. Vincent Millay, Sarah Teasdale, and Helene Johnson; of the period we often refer to as “modernism”; and of the sonnet form.
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Pettinger, Terry Lynn O'Brien. "Where Intellect and Intuition Converge: Epistemological Errancies in the Poetry of Jorie Graham." Thesis, Virginia Tech, 1999. http://hdl.handle.net/10919/31158.
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Over the past two decades, American poet Jorie Graham has composed six books of poems. Graham struggles to understand how we make sense of the world through thinking grounded in the logical operations of reason and through thinking that operates as more of a detached wandering that enables direct experiential participation in the present moment-modes of thought occasionally differentiated as "intellect" and "intuition." Throughout her work, Graham repeatedly experiments with ways to "frustrate" the intellect in order for intuition to wander over an idea while at the same time she relies on the intellect to rescue the mind from directionless wandering. In her early poetry Graham explores ways of defining and describing what it feels like to think. Later, she enacts thinking within the lines of her poems, sometimes allegorizing the operation of the intellect and intuition and sometimes provoking readers into an experience of one particular way of thinking through the act of reading.
This study examines Graham's various successes and failures as she struggles to discover "blossoming" moments of balance between the controlling intellect and the wandering intuition. Beginning with the origins of this line of thinking in Graham's early work, this study traces the poet's path of development through each book of poems in order to demonstrate the back and forth momentum shifts of intellect giving way to intuition and intuition being organized by rational thought. Through her epistemological errancies, her wanderings within and without ways of knowing, Graham discovers "blossoming" moments of wholeness where both modes of thought meet "in solution, unsolved."<br>Master of Arts
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Osborn, Andrew Langworthy. "Admit impediment : the use of difficulty in twentieth-century American poetry /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008413.
Full textBooks on the topic "Portuguese poetry of the twentieth century"
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Poetry, physics, and painting in twentieth-century Spain. Palgrave Macmillan, 2011.
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The anthology in Portugal: A new approach to the history of Portuguese literature in the twentieth century. P. Lang, 2007.
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MacGowan, Christopher, ed. Twentieth-Century American Poetry. Blackwell Publishing Ltd, 2004. http://dx.doi.org/10.1002/9780470690055.
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Lyon, Philippa, and Nicolas Tredell, eds. Twentieth-Century War Poetry. Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-20912-1.
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Jeffries, Lesley. The language of twentieth-century poetry. St. Martin's Press, 1993.
Find full textBook chapters on the topic "Portuguese poetry of the twentieth century"
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Lyon, Philippa, and Nicolas Tredell. "Introduction." In Twentieth-Century War Poetry. Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-20912-1_1.
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Lyon, Philippa, and Nicolas Tredell. "Navigating the Genre." In Twentieth-Century War Poetry. Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-20912-1_2.
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Lyon, Philippa, and Nicolas Tredell. "The First World War." In Twentieth-Century War Poetry. Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-20912-1_3.
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Lyon, Philippa, and Nicolas Tredell. "The Interwar Years." In Twentieth-Century War Poetry. Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-20912-1_4.
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Lyon, Philippa, and Nicolas Tredell. "The Second World War." In Twentieth-Century War Poetry. Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-20912-1_5.
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Lyon, Philippa, and Nicolas Tredell. "Post-1945 Critical Paths." In Twentieth-Century War Poetry. Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-20912-1_6.
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Lyon, Philippa, and Nicolas Tredell. "Conclusion." In Twentieth-Century War Poetry. Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-20912-1_7.
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"Notes for a Cartography of Twentieth-Century Portuguese Poetry: Manuel Gusmão." In A Revisionary History of Portuguese Literature. Routledge, 2013. http://dx.doi.org/10.4324/9780203726877-15.
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"Twentieth-Century Poetry." In Poems from Korea, edited by Peter H. Lee. Routledge, 2019. http://dx.doi.org/10.4324/9780429298813-5.
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"Twentieth-century poetry." In A Short History of English Literature. Routledge, 2013. http://dx.doi.org/10.4324/9780203137277-23.
Full textConference papers on the topic "Portuguese poetry of the twentieth century"
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Slatin, John M. "Twentieth-century American poetry." In the 6th annual international conference. ACM Press, 1988. http://dx.doi.org/10.1145/358922.358944.
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Ragchaa, B. "THE LITERARY MOVEMENTS IN THE TWENTIETH-CENTURY MONGOLIAN PROSE POETRY (THE GOBI OF POEMS BY B. YAVUUKHULAN AND B. LKHAGVASUREN)." In The Epic of Geser — the spiritual heritage of the peoples of Central Asia. BSC SB RAS, 2020. http://dx.doi.org/10.31554/978-5-7925-0594-0-2020-192-194.
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Freitas, Tiago. "Summer houses in Portugal: the legacy of the Exitenzminimum and the work of Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.862.
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Abstract: The program of the summer house will mark the acceptance period of modern architecture in Portugal. The modern life is put into practice by a group of architects to an enlightened bourgeoisie clientele, in some summer resorts that will start to be developed in the Portuguese coastline. The Existenzminimum, will be a German expression used throughout the twentieth century, particularly after the First World War, where the concerns of social nature and housing, for a large number of people will be important issues to be discussed by architects. Petit cabanon was Le Corbusier’s summer house in Roquebrune-Cap-Martin. This small pavilion experienced new possibilities of living in minimum area, similar to the theories of the existenzminimum studied by Modern architects in the post-first world war period. New ways to dwell in minimum space are then reinterpreted in the early experiences of holiday houses in Portugal where a simple way of living started to be tested. Resumen: El programa de la casa de verano se cumplirá el plazo de aceptación de la arquitectura moderna en Portugal. La vida moderna se pone en práctica por un grupo de arquitectos a una clientela de burguesía, en algunos centros turísticos de verano que comenzarán a desarrollar en la costa portuguesa. El Existenzminimum, será una expresión alemana utilizado a lo largo del siglo XX, sobre todo después de la Primera Guerra Mundial, donde las preocupaciones de carácter social y vivienda, para un gran número de personas serán temas importantes a tratar por los arquitectos. Petit Cabanon fue la casa de verano de Le Corbusier en Roquebrune-Cap-Martin. Este pequeño pabellón experimentó nuevas posibilidades de vivir en área mínima, similar a las teorías de la Existenzminimum estudiados por arquitectos modernos en el periodo posterior a la primera guerra mundial. Nuevas formas de habitar el espacio mínimo son entonces reinterpretadas en las primeras experiencias de casas de vacaciones en Portugal, donde una forma moderna de habitar comenzó a ser testada. Keywords: Petit cabanon; Le Corbusier; Holiday houses; Existenzminimum; Arquitecture; Modern. Palabras clave: Petit cabanon; Le Corbusier; Casas de Verano; Existenzminimum; Arquitectura; Moderno. DOI: http://dx.doi.org/10.4995/LC2015.2015.862