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Dissertations / Theses on the topic 'Quebec poetry'
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Carrière, Marie J. "Poetics of the other, five feminist writers from English Canada and Quebec." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ45662.pdf.
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Frédette, Julie. ""Rare Poems Ask Rare Friends" : Literary Circles and Cultural Capital : The Case of Montreal's Jubilate Circle." Thèse, Université de Sherbrooke, 2014. http://savoirs.usherbrooke.ca/handle/11143/94.
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Abstract : The field of literature taken as a sociological phenomenon has enlightened and deepened our knowledge and appreciation of several national literatures, and the works of Pierre Bourdieu and Georg Simmel in this field are now considered ground-breaking. In Québec, the Groupe de recherche sur l’édition littéraire au Québec (now operating under the name « Groupe de recherche sur l’étude du livre au Québec ») has been particularly active in studying the sociological conditions that make literature possible in this Canadian province. Parallel to this, the Équipe de recherche interuniversitaire en littérature anglo-québécoise (ÉRILAQ) has
gathered researchers interested in the “contact zone,” to borrow an expression from Catherine Leclerc and Sherry Simon, that is Anglo-Quebec literature. This dissertation will combine these two interests in order to study in greater depth the discourse and works of the poets of the Jubilate Circle, a network of poets writing in English in Québec at the turn of the twenty-first century. It will not only seek to prove the existence of a literary circle, it will attempt to showcase how the circle itself has contributed to advancing its members’ literary careers.
In keeping with Pierre Bourdieu’s theories of cultural, symbolic and social capital, this
dissertation will present, from the outset, a prosopographical sketch of the four poets that
make up the Jubilate Circle, and examine the conditions in which they met, bonded as a group (of friends and of colleagues) and came to found the Jubilate Circle. Following this, the instances in which capital of all kinds (symbolic, cultural and social) were exchanged by the four poets will be examined through a close reading of correspondence, dedications, book jacket blurbs and even of the poetry itself. In an attempt to identify the homogeneous in the cacophony of discourse, to paraphrase Marc Angenot, the Jubilate Poets’ discourse on Canadian poetry, enunciated in interviews, essays, book reviews and in the press will then be examined. This will provide a better understanding of the position they hold, or wish to hold, within the field of Canadian poetry and indeed within its canon, existing or future. Finally, an analysis of the poetry they have produced will serve to underscore those aspects of their discourse that are deemed particularly relevant and will highlight areas in which some contradictions may be observed. As a whole, this dissertation will shed some light on the production of poetry, of its criticism and of its publication not only as a literary phenomenon, but also as a profoundly social one. // Résumé : L’étude du champ littéraire en tant que phénomène social a su éclairer et approfondir notre appréciation de plusieurs littératures nationales, et les travaux de Pierre Bourdieu et de Georg Simmel à cet égard sont aujourd’hui considérés fondateurs. Au Québec, le Groupe de recherche sur l’édition littéraire au Québec (aujourd’hui connu sous le nom « Groupe de recherche sur l’étude du livre au Québec ») a jeté les assises dans l’étude des conditions sociologiques qui rendent le phénomène littéraire possible dans cette province canadienne. Parallèlement, l’Équipe de recherche interuniversitaire en littérature anglo-québécoise (ÉRILAQ) réunit des chercheurs qui s’intéressent à cette “zone de contacte”, pour reprendre l’expression de Catherine Leclerc et de Sherry Simon, qu’est la littérature anglo-québécoise. Cette thèse combinera effectivement ces deux champs de recherche afin d’étudier de manière plus approfondie le discours et les œuvres des poètes du “Jubilate Circle”, un réseau de poètes publiant en anglais au Québec au tournant du vingt-et-unième siècle. Elle cherchera non seulement à prouver l’existence d’un cercle littéraire, mais tentera également de démontrer par quels moyens ce même cercle a pu contribuer à l’avancement des carrières littéraires de ses membres.
Suivant les théories sur le capital culturel, symbolique et social énoncées par Pierre Bourdieu, cette thèse brossera, dans un premier temps, le profil prosopographique de chacun des acteurs du Jubilate Circle et se penchera sur les conditions qui ont favorisé leur rencontre, le bourgeonnement d’une amitié et d’une collaboration littéraire à long terme et la création du cercle littéraire. En second lieu, les instances dans lesquelles des échanges de capital ont lieu seront scrutées grâce à une lecture détaillée de la correspondance, des dédicaces, des textes de quatrième de couverture et même de la poésie elle-même. Dans le but de faire ressortir l’homogène que recèle la cacophonie du discours, pour paraphraser Marc Angenot, le discours tenu par les poètes du Jubilate Circle au sujet de la poésie canadienne contemporaine, énoncé lors d’entretiens, dans des essais littéraires, des comptes rendus et dans les quotidiens de ce pays sera examiné. Une telle étude permettra de faire la lumière sur leur posture et sur la position qu’ils occupent, ou souhaitent occuper, dans le champ de la poésie canadienne, voire dans son canon littéraire, présent ou futur. Enfin, une analyse de la poésie produite par ces quatre poètes sera l’occasion de souligner et d’illustrer certains aspects particulièrement significatifs de leur discours et révélera quelques instances dans lesquelles certaines contradictions peuvent être observées. Dans son ensemble, cette thèse vise à jeter un nouvel éclairage sur la production d’une poésie, de sa critique et de ses instances de publication non seulement en tant que phénomène littéraire, mais bien en tant que phénomène profondément social.
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Hanks, Jennifer R. "Myth Protagonist X." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2158.
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Mangus, Paul. "Match Bitten." University of Akron / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=akron1619134112811225.
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Strobel, Wesley/Kaileigh. "(TRANS)FORM: Spoken Word as Queer and Transgender Testimony." Otterbein University Distinction Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=otbndist1620462465460833.
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Bellew, Paul. "Ephemeral Arrangements: Materiality, Queerness, and Coalition in U. S. Modernist Poetry." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18538.
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This dissertation searches for a body of queer modernist poetry while at the same time attempting to rework the definition of “queer.” In chapter I, I use a reconceptualization of queerness not as an abstract, theoretical rendering of the breakdown of identity categories but in its fundamental, historical sense: a political coalition made up of individuals with different subjective sexual identities who are similarly marginalized in decidedly sexual terms. Thus, this project seeks to locate texts that demonstrate moments of empathy, intersection, and cooperation between LGBT speakers, characters, or editors and people with different sexualities, races, or abilities. In this project, I avoid traditional, well-known texts of modernism in favor of recovering forgotten work by non-heterosexual authors who have been at one time or another marginalized in the canon and in society at large—Amy Lowell, Langston Hughes, and Hart Crane. In order to rediscover this overlooked work by formerly forgotten poets, the project utilizes archival research and a material methodology in which I analyze poems not just in the abstract but in their original, ephemeral locations and venues: archival manuscripts, little magazines, and book-length collections. In chapter II, I uncover an experimental editorial method that Lowell pioneered in her Some Imagist Poets anthologies in which, rather than selecting and editing the selection as a traditional editor, she offered equal space to each contributor to choose and arrange their own suite of poetry. In chapter III, I analyze Hughes’ “A House in Taos” in both its first publication in a Mexico-based literary journal then in one of his own understudied collections, arguing that the poem represents an interracial, bisexual triad. In the chapter on Crane, I analyze several versions of a poem about a young man with a cognitive disability with whom Crane was acquainted while vacationing in Cuba, showing that, when the poem is set outside of the U. S. border, the speaker evinces a deep empathy for the marginalized young man.
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Sultan, Hazar. "Gender-queer Identity and Resistance to Gender Binary in Andrea Gibson's Poetry." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-29630.
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The question of gender, specifically gender identity, is prominent in today’s society. It is highly debated and through the development of queer theory it is gaining more academic recognition. However, there is a gap regarding representation of the gender-queer identity of one contemporary poet, Andrea Gibson. Gibson provides a much needed perspective and voice in society and scholarly debates. This is why this essay uses queer theory along with Kate Bornstein and Judith Butler to examine three poems by Gibson, “Swing-Set, “The Jewelry Store” and “A Genderful Pep-Talk for my Younger Self”. The essay analyses the ways Gibson, through poetry, formulates a gender-queer identity and thus questions the generic gender binary system.
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Nunes, Jennifer Marie. "“Afternoon, a Fall”: Relationality, Accountability, and Failure as a Queer-Feminist Approach to Translating the Poetry of Yu Xiuhua." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494231761761609.
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Kramer, Max. "The poetry of inversion : Queer metaphor in Arthur Rimbaud, Stefan George, and Federico Garcia Lorca." Paris 4, 2008. http://www.theses.fr/2008PA040103.
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Baylis-Green, Caroline. "Queer subjectivities, closeting and non-normative desire in nineteenth-century women's poetry and life writing." Thesis, Manchester Metropolitan University, 2015. http://e-space.mmu.ac.uk/617012/.
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This thesis aims to elucidate previously obscured aspects of nineteenth-century women’s writing, through the development of original approaches to the reading of gender ambiguity, queer subjectivities and non-normative desire. It challenges the removal of the closet from feminist, historicist scholarship and constructions of female sexuality based on an adherence to romantic friendship and lesbian continuum models. This research proposes original work, which breaks the links between Michel Foucault’s dating of the disciplinary coding of homosexuality and the assumed relationship with the closet. New readings are proposed which acknowledge, define and foreground multi-functional closets, inside and outside of texts. In refusing this removal this study also aims to open up a space for the consideration of closets as protective and supportive spaces as well as symptoms of oppression. Underexplored links between literary form, the repelling of social restriction and the relationship between literary conventions and non-binary positions are also highlighted to emphasise the radical potential of performative subjects in women’s writing. This project proposes the recovery of queer selves and subjective forms of identification in the work of seven/eight women writers Anne Lister, Emily Brontë, Anne Brontë, Christina Rossetti, Adelaide Anne Procter, Michael Field and Amy Levy, spanning the long nineteenth century. It also offers new approaches by combining cross-genre analysis of poetry and life writing. Using activist language largely in advance of academic discourse, it asks questions about the changing significance of queerness as language and metaphor. This thesis uses diverse social, religious and literary bodies to illustrate the strength of same-sex communities and their role in providing safe spaces for queer, desiring interactions in the nineteenth century.
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Nardandrea, Coral H. "Her Name is Albatross." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1490701861485156.
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Nakanishi, Laurel. "Offshore." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3268.
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OFFSHORE is a collection of lyric essays that examines the intersections between human cultures and the natural world. The essays inspect issues of identity and belonging in different geographic, cultural, and political landscapes. Part one of the book centers on the cultural and natural landscapes of Hawaii and Japan. Part two explores interpersonal relationships in Montana. And part three focuses on social justice issues in Nicaragua and Florida. Each of the essays in this collection balances intellectual exploration with personal narrative and poetic description, allowing the essays to be simultaneously concept-driven while maintaining lyric force.
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Sales, Sinei Ferreira. "Desentranhando desejos e identidades: uma leitura queer de Luís Miguel Nava." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-17092015-144920/.
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O objetivo desta pesquisa é discutir, a partir da ideia de interdição foucaultiana, os processos de que se valeu a crítica literária para apagar de seu horizonte de leitura as imagens do homoerotismo nas literaturas de língua portuguesa, para tanto, detivemo-nos de modo mais apurado na leitura de poemas de Luís Miguel Nava, poeta português cuja obra tem uma dimensão homoerótica notável e, mesmo assim, as leituras que fizeram dela passaram ao largo de discuti-las de modo mais aprofundado.<br>The aim of this research is to discuss the processes of interdiction, according to Foucault, that literary criticism used in order to ignore the images of homoeroticism present in the Portuguese literatures. With this purpose, we carefully analyze the poems by Luís Miguel Nava, a Portuguese poet which work has a remarkable homoerotic dimension but, even so, scholars have not discussed this characteristic in depth.
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Barrett, Redfern Jon. "Queer friendship : same sex love in the works of Thomas Gray, Anna Seward, Mary Wollstonecraft and William Godwin." Thesis, Swansea University, 2010. https://cronfa.swan.ac.uk/Record/cronfa43030.
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Newton, Daniel W. "Death in the Royal Family: Victorian Funeral Sermon Techniques in Tennyson's National Poetry." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2480.pdf.
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Karlsson, Linda. "”It was easy to write about whores, but to write about a good woman was much more difficult” : En queer läsning av Charles Bukowskis Women och Love is a Dog from hell." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-26248.
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A Queer Reading of Charles Bukowskiʼs Women and Love is a dog from hell This thesis aims to examine how the representation of gender is portrayed in relation to sex and power in Charles Bukowski’s novel Women and poetry collection Love is a dog from hell. The theoretical frame of the analysis is based on Judith Butlerʼs queer theory regarding the heterosexual matrix and gender performativity. The analysis consists of a textual comparison where a specific selection of poems is analysed parallel to the novel to see how they interact and how they oppose each other, through a queer reading. The analysis is divided in three parts where the first one discusses the construction of masculinity in Charles Bukowskiʼs protagonist Henry Chinaski and how this is presented differently in the two literary genres. The second part reveals how sex is presented in relation to power and how active and passive women are considered as sexually acceptable. The final part of the analysis discusses how women are portrayed in the novel and in the poetry. Further it demonstrates the consequences for women who do not act as expected in relation to their gender roles. In addition to this, the thesis investigates how the poetry functions as a tool to apply depth to the characters in the novel. It also points out how the sexual relationships work as a way of maintaining the masculine superiority over women. The repetitive way in which the protagonist fails to fulfil his sexual performance points towards an image of Chinaski as queer, something that previous scholarship has failed to notice. In conclusion, this essay shows how a queer reading can work as an instrument to read a text that is generally interpreted as heteronormative, macho and misogynistic. The queer reading in the thesis demonstrates a different interpretation of predetermined gender roles in two of Bukowski’s literary works.
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Faust, Kimberly M. "A Crisis in Regal Identity: The Dichotomy Between Levinia Teerlinc’s (1520-1576) Private and Public Images of Queen Elizabeth I (1533-1603)." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116614443.
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Painter, Holly. "Wanderlust : a poetry collection : a thesis submitted to the University of Canterbury in partial fulfilment of the requirements for the degree of Master of Fine Arts in Creating Writing /." Thesis, University of Canterbury. School of Humanities, 2009. http://hdl.handle.net/10092/2743.
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Paz-Amor, Windy. "Damned If You Do--Damned If You Don't: A Queer Woman of Color's Journey of Trauma, Agency, and Leadership." ScholarWorks @ UVM, 2015. http://scholarworks.uvm.edu/graddis/364.
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ABSTRACT
Navigating systems of leadership in Predominantly White Institutions (PWIs) in higher education as a Queer Woman of Color can be a challenging and complex process--one that integrates identity, experience, expertise, knowledge, patience, and most importantly the ability to risk; while remaining authentic and professional. It is a balance, which in my own experience and expertise requires constant reflection, evaluation, and adaptation. A negotiation of owning that one has power and agency, while realizing that the many intersecting identities that one holds influences how dominant culture perceives that power and agency. To reach authentic reflection and evaluation in leadership it is critical to examine and investigate one's own vocation to lead and to ask, what leads us and sustains us in that leadership?
This dissertation will offer a counter-narrative of leadership in prose-poetry through a lens of intersectionality outside of the hegemonic or dominant ways that define the parameters of leadership. Through the use of personal narratives reinforced by scholarship using the methodology of Scholarly Personal Narrative (SPN), I explore my own experiences of trauma throughout my life that led to agency and inevitably to leadership. I additionally examine the overarching tenants and themes that continue to inform, sustain and strengthen my leadership.
"Damned If You Do--Damned If You Don't" represents a phrase often used amongst marginalized communities that signifies the challenges of navigating one's own power and agency within oppressive dominant systems. This SPN dissertation will be supported by the paradigms of Critical Race Theory (CRT) with a specific focus on Counter-Narrative/Storytelling and Critical Race Gendered Epistemology or Feminist Black/Latino Theory, while also incorporating aspects of positive psychology. It will offer a counter-narrative in leadership that highlights how my multiple intersecting identities, coupled with my life experiences, create meaning and go on to further shape my approach to trauma, agency, and leadership.
As a Queer woman of color in leadership, I find that by honoring and examining my own stories of trauma and agency, and how it led me to leadership. I am better equipped as a professional to honor the narratives, identities, and experiences of those that I serve.
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Gordon, Kaiya M. "Polaroid." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587499846173932.
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Larsen, Nickolaus B. "Belongings." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555333208810138.
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Abdullah, Sohail. "Hissār." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3145.
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Hissaar is a noun and a verb, it is the periphery and the extremities, and the walls and the fortress. And it is to encircle, to wrap and to contain. This paper is an inexhaustive account of thoughts, experiences and lessons learned, of varying forms that influence my aesthetic sensibilities, my art-value system, and my art- ethical concerns. They provide for my art the impetus for its perpetual (and perhaps circular) journey. It is about finding connections between the fraying ends of free floating ideas. The following fragments explores how words make ideas, ideas make images, images make memory; memory sets into architecture, architecture moves the body, the body needs pain and pain needs words.
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Angles, Jeffrey Matthew. "Writing the love of boys: representations of male-male desire in the literature of Murayama Kaita and Edogawa Ranpo." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1071535574.
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Holloway, Tamara C. ""All Is Well": Victorian Mourning Aesthetics and the Poetics of Consolation." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12141.
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viii, 214 p.<br>In this study, I examine the various techniques used by poets to provide consolation. With Tennyson's In Memoriam, I explore the relationship between formal and thematic consolation, i.e., the ways in which the use of formal elements of the poem, particularly rhyme scheme, is an attempt by the poet to attain and offer consolation. Early in his laureateship after the Duke of Wellington's funeral, Tennyson wrote "Ode on the Death of the Duke of Wellington," but this poem failed to meet his reading audience`s needs, as did the first major work published after Tennyson was named Poet Laureate: Maud. I argue that form and theme are as inextricably linked in Maud as they are in In Memoriam, and in many ways, Maud revises the type of mourning exhibited in In Memoriam. Later, I examine in greater detail the hallmarks of Victorian mourning. Although most Victorians did not mourn for as long or as excessively as Queen Victoria, the form her mourning took certainly is worth discussion. I argue that we can read Tennyson's "Dedication" to Idylls of the King and his "To the Mourners" as Victorian funeral sermons, each of which offers explicit (and at times, contradictory) advice to the Queen on how to mourn. Finally, I discuss the reactions to Tennyson's death in the popular press. Analyzing biographical accounts, letters, and memorial poems, I argue that Tennyson and his family were invested in the idea of "the good death"; Tennyson needed to die as he had lived--as the great Laureate.<br>Committee in charge: Richard Stein, Chair;
Tres Pyle, Member;
Deborah Shapple, Member;
Raymond Birn, Outside Member
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Grantham, Ashley W. "“The Ground On Which I Stand” Healing Queer Trauma through Performance: Crafting a Solo Performance through the investigation of Ritual Poetic Drama within the African Continuum." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5828.
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“The Ground On Which I Stand”
Healing Queer Trauma through Performance:
Crafting a Solo Performance through the investigation of Ritual Poetic Drama within the African Continuum.
By: Ashley W. Grantham
A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Performance Pedagogy at Virginia Commonwealth University
Virginia Commonwealth University
April 16th, 2019
Thesis Adjudicator: Dr. Tawnya Pettiford-Wates
Committee: Dr. Keith Byron Kirk, Director of Graduate Studies and Karen Kopryanski, Head of Voice and Speech
How does this method of Ritual Poetic Drama within the African Continuum, by extension, solo performance, uncover, heal queer trauma through witnessing and performance practice? How do these methods give us an intersectional approach to talking about race, identity, gender and bridge those divides? How does this devised work of solo performance allow the author as practitioner to claim the ground on which they stand and surrender to their own healing?
This thesis attempts excavation of the foundational theories in regard to performance structure, and to discover how healing trauma through theoretical techniques achieves liberation through their enacted practice. This is an allowance of ourselves as artists and facilitators to claim our traumatic bodies as worthy sites of invention.
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Gray, Brandie. "Milled." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5827.
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Milled is a collection of poems centered around the speaker’s maternal grandfather who dedicated his life to hard labor as a crane operator in the American steel industry, which led to his work-related illness and eventual death at the age of sixty. These poems investigate subjects that focus on: the Appalachian landscape, childhood trauma, domestic violence, and substance abuse. Such themes inform the speaker’s understanding of her own identity as a working-class queer woman who struggles to reckon with her troubled past.
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Grujić, Ana. "Her Impenetrable Prose: Disobedient Poetics and New Erotic Collectivities in Experimental Women's Writing." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1282106991.
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Bojana, Vujin. "Poezija britanske popularne kulture 20. veka: poetika i hermeneutika." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2014. http://www.cris.uns.ac.rs/record.jsf?recordId=90693&source=NDLTD&language=en.
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Tema ovog rada jeste poezija britanske popularne kulture dvadesetog veka, odnosno, stihovi pop i rok pesama britanskih muzičkih autora. Polazna teza disertacije jeste to da se tekstovi popularnih pesama mogu smatrati poezijom, te da se uobičajene metode koje se koriste pri analizi tradicionalnog pesničkog stvaralaštva mogu upotrebiti i kada je reč o pop i rok tekstu.Iako se popularna muzika odavno posmatra kao bitan činilac u kulturi dvadesetog i dvadeset prvog veka, i kao takva jeste predmet brojnih kritičkih studija, primećuje se iznenađujuća činjenica da se te studije uglavnom bave njenom kulturološko-sociološkom ulogom, zbog čega je i istražuju upravo iz tog ugla. Za razliku od njih, ovaj rad se usredsređuje na pesničke elemente popularne muzike (poetika), i to tako što ih tumači kao i svaki drugi književni tekst (hermeneutika). Ponekad se ovoj analizi dodaje i muzikološka, jer se značenje popularnih pesama stvara kombinacijom tekstualnog i muzičkog aspekta.U odabiru bendova koji su postavljeni u središte analize od velike koristi bila je teorija Kira Kitlija (Keir Keightley) o romantičarkoj i modernističkoj autentičnosti popularne muzike. S obzirom na to da su studije popularne muzike uglavnom posvećene romantičarsko autentičnim stvaraocima, predmet istraživanja ove disertacije jesu tri modernističko autentične grupe, a to su Bitlsi (The Beatles), Kvin (Queen) i Mjuz (Muse). Njihovi tekstovi su tematski podeljeni u četiri grupe: pesme o ljubavi, narativne pesme, pesme o unutrašnjem svetu i pesme o spoljašnjem svetu; i analizirani su u skladu sa takvom podelom.Nakon izvršene analize, izveden je zaključak da se tekstovi rok i pop pesama uistinu mogu smatrati poezijom, čak i kada stihovni element neke pesme služi pre svega kao pratnja muzičkom. Na ovaj način, utvrđeno je da pop i rok poeziji i te kako pripada mesto u širokoj i raznorodnoj oblasti pesničkog stvaralaštva.<br>The topic of this research was the poetry of 20th century British popular culture, i.e., the lyrics of pop and rock songs written by British authors. The basic thesis of the dissertation was the idea that popular music lyrics can be considered to be poetry, and that the usual methods used to analyse traditional poetry can thus also be used in the analysis of pop and rock lyrics.Even though popular music has long been considered a valuable factor in the 20th and 21st century culture, therefore being the topic of numerous critical studies, most of these studies have, surprisingly, been focused almost exclusively on the culturological and sociological importance of popular music and have thus approached it accordingly. This research is instead focused on its poetical elements (poetics), interpreting them as it would any other kind of literary text (hermeneutics). Sometimes, musicological element is also added to the analysis, given that the meaning of popular songs is created by the combination of both text and music.Keir Keightley’s theory of Romantic and Modernist authenticity in music has been greatly helpful in choosing the bands on which the research was to focus. Since popular music studies mostly deal with Romantic authenticity, three bands which display Modernistviiauthenticity – The Beatles, Queen, and Muse – were here chosen as subjects instead. Their lyrics were divided into four thematic groups: songs about love, narrative songs, songs about the inner world, and songs about the outer world; they were analysed according to these thematic focuses.After the analysis was done, the following conclusion was drawn: pop and rock lyrics can indeed be considered poetry, even when the textual element is only secondary to the musical one. It has thus been proved that pop and rock texts should be regarded as part of the vast and varied area of poetry in general
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Choudhury, Athia. "Story lines moving through the multiple imagined communities of an asian-/american-/feminist body." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/669.
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We all have stories to share, to build, to pass around, to inherit, and to create. This story - the one I piece together now - is about a Thai-/Bengali-/Muslim-/American-/Feminist looking for home, looking to manage the tension and conflict of wanting to belong to her family and to her feminist community. This thesis focuses on the seemingly conflicting obligations to kinship on the one hand and to feminist practice on the other, a conflict where being a good scholar or activist is directly in opposition to being a good Asian daughter. In order to understand how and why these communities appear at odds with one another, I examine how the material spaces and psychological realities inhabited by specific hyphenated, fragmented subjects are represented (and misrepresented) in both popular culture and practical politics, arguing against images of the hybrid body that bracket its lived tensions. I argue that fantasies of home as an unconditional site of belonging and comfort distract us from the multiple communities to which hyphenated subjects must move between. Hyphenated Asian-/American bodies often find ourselves torn between nativism and assimilationism - having to neutralize, forsake, or discard parts of our identities. Thus, I reduce complicated, difficult ideas of being to the size of a thimble, to a question of loyalty between my Asian-/American history and my American-/feminist future, between my familial background and the issues that have become foregrounded for me during college, between the home from which I originate and the new home to which I wish to belong. To move with fluidity, I must - in collaboration with others - invent new stories of identity and belonging.<br>B.A. and B.S.<br>Bachelors<br>Office of Undergraduate Studies<br>Interdisciplinary Studies; Philosophy
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King, Taylor Z. "A Spectacle and Nothing Strange." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5905.
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Working through methods of abstraction and comedic mimicry I choreograph awkwardly balanced sculpture with objects of adornment as a means to defuse personal sensitivities surrounding my experiences of gender, desire, and home. The research that follows is concerned with the adjacent, the in between, above and underneath, because I feel that this kind of looking means that you are, to some degree, aware of what lies at the edges. Maybe this is what Gertrude Stein means to act as though there is no use in a center—because this concerns a way of relating, though there are many things in the room.
‘A spectacle and nothing strange’ is an arrangement of gestures, of made difference, of kinships, of orientations and possible futures, sustained tension, coded adornment, big dyke energy, shifts in hardness, leaning softness, much more than flowers, ...and in any case there is sweetness and some of that.
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Frédette, Maryse. "Le motif du "domaine" : espace d'une subjectivité dans Les vies frontalières et Rabatteurs d'étoiles de Rachel Leclerc." Thèse, 2010. http://hdl.handle.net/1866/5259.
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Ce mémoire cherche à dévoiler le mode d’habitation singulier que développe le sujet poétique dans Les vies frontalières et Rabatteur d’étoiles de Rachel Leclerc par l’intermédiaire de l’analyse du motif du « domaine », récurrent dans les deux œuvres. Il s’agira donc de clarifier ce à quoi fait référence ce motif particulier en dégageant les différentes structures le sous-tendant et en tentant d’observer comment son élaboration se fait en parallèle étroit avec celle de la subjectivité des recueils de Leclerc.
Ainsi, les trois premiers chapitres du présent ouvrage s’attardent à expliciter l’importance de la structure d’horizon, terme emprunté à Michel Collot, pour saisir la façon unique dont le sujet poétique perçoit l’espace, la temporalité et sa propre subjectivité. Le quatrième chapitre est quant à lui consacré à ce qu’on peut qualifier de structure du chemin, qui vient recouper et enrichir celle de l’horizon. Le croisement de ces deux lignes trace enfin l’espace du domaine et dessine une sorte de T qui supporte l’entreprise poétique dans son ensemble.<br>This masters thesis’s objective is to reveal the poetic subject’s unique way of occupying space in Rachel Leclerc’s Les vies frontalières and Rabatteurs d’étoiles by analysing the “domain’s” motif, recurrent in the two poetical pieces. Clarifying the meaning of this specific motif will be accomplished through the identification of its different underlying structures and by defining how its development is closely linked to that of the poetic subjectivity in Leclerc’s work.
The three first chapters of the present thesis intend to shed light on the importance of the “horizon’s structure”, term barrowed from Michel Collot’s works, to highlight the distinctive manner in which the poetic subject appreciates spatiality, temporality and his own subjectivity. As for the fourth chapter, it expands on what can be called the “road structure” that crosscuts and completes the horizon’s structure. The junction of these two lines creates the domain’s space and its T form supports the poetic undertaking in its full spectrum.
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Audet, Ariane. ""Les mille tableaux du réel" : analyse de la perception dans La terre est ici d'Élise Turcotte." Thèse, 2010. http://hdl.handle.net/1866/4201.
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Ce mémoire porte sur le recueil de poèmes La terre est ici d’Élise Turcotte. Il s’attache à analyser les modalités par lesquelles le foyer de perception des sujets poétiques engendre un déplacement de la notion de « paysage » dans l’œuvre de Turcotte.
Le premier chapitre étudie l’énonciation afin de retracer comment les subjectivités de La terre est ici investissent le langage et construisent le réel qui les entoure pour en donner une perception singulière. Le second chapitre analyse la création de cet espace visuel unique qui se déploie autour de la notion de « détail », tandis que le troisième et dernier chapitre s’intéresse à la remise en cause du statisme de la vision engendrant un « art de faire » qui tend plutôt vers la mise en scène et le mouvement. L’étude de cette scène comme convocation des sujets dans le langage permet de développer la conception de l’espace comme lieu pratiqué, où les multiples perceptions des sujets composent un « paysage » à la fois visuel, tout en donnant lieu à une possibilité d’action.<br>This M.A. thesis concerns the collection of poems La terre est ici of the poet Élise Turcotte. It studies the modalities by which the perception of the poetic subjects displaces the notion of « landscape » in the work of Turcotte.
The first chapter, in studying enunciation, tries to understand how the subjectivities of La terre est ici invest the language and build the reality that surrounds them to create a singular perception. The second chapter analyzes the creation of this unique visual space which deploys itself around the notion of « detail », whereas the third and last chapter questions the vision engendering an « art de faire » which aims towards direction and movement. The study of this stage as a way to convoke the subjects in the language introduces the idea of the space as a practised place. Thus, the multiple perceptions of the subjects compose a « landscape », understood in a visual sense and as possibility of action.
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Dupuis, Amélie. "Robert Choquette à la lettre. Poésie et réseaux épistolaires au Québec." Thèse, 2014. http://hdl.handle.net/1866/11657.
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Ce mémoire a pour objet d’étude les échanges épistolaires entre Robert Choquette et Louis Dantin, Alfred DesRochers et, dans une moindre mesure, Claude-Henri Grignon, Émile Coderre et Albert Pelletier. Les lettres en question, qui n'ont jamais été publiées, sont conservées pour l’essentiel dans le Fonds d'archives Robert-Choquette, qui n’est accessible aux chercheurs que depuis 2006. L'objectif de cette étude est de mesurer la voix et la part de Robert Choquette au sein des réseaux littéraires des années vingt et trente. La première partie du premier chapitre de ce mémoire est essentiellement théorique; la position de la lettre au sein de l'œuvre d'un écrivain, la constitution, par les lettres, d'un réseau littéraire ainsi que les rapports entre destinateur et destinataire y sont définis. Par la suite, les échanges épistolaires entre Choquette et ses correspondants sont examinés afin de mettre en lumière les rapports de force exploités dans ce réseau. Cette étude, qui se base sur un corpus de lettres rédigées entre 1927 et 1943, montre également l'évolution des ambitions poétiques du poète. Dans le but d'observer l'empreinte des correspondants de Choquette sur son projet littéraire, les deuxième et troisième chapitres du mémoire sont consacrés à l'analyse de ses recueils Metropolitan Museum et Suite marine. L'étude des échanges spécifiques portant sur ces deux œuvres expose une transformation quant au choix des images utilisées par Choquette pour se représenter, ainsi que l'évolution de ses attentes envers ses destinataires.<br>This thesis takes as its object the study of the correspondence between Robert Choquette and Louis Dantin, Alfred DesRochers and, to a lesser extent, Claude-Henri Grignon, Émile Coderre and Albert Pelletier. The letters in question were never published and are kept in the Robert-Choquette archival group, itself only made available to academics in 2006. The purpose of this study is to measure Robert Choquette's scope and influence as well as the role he played in literary circles during the 20s and 30s. The first part of the first chapter is essentially theoretical, and concerns itself with defining the importance of epistolary writing within the purview of a writer’s work, the constitution of a literary network by way of correspondence, and the relationship between sender and addressee. Then, the various letter exchanges between Choquette and his correspondents are examined so as to shed light on the interplay of influences within the network. The study, based on a corpus of letters written between 1927 and 1943, also displays the evolution of the author’s poetic ambitions. Aiming to highlight the impact Choquette’s correspondents had on his literary project, the second and third chapters of this thesis are dedicated to analyzing his collections of poems Metropolitan Museum and Suite marine. The study of specific exchanges bearing on these two books exhibits a transformation in the imagery Choquette employs to depict himself, as well as an evolution of the author’s expectations from his correspondents.
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Mailhot, Valérie. ""Rien que de très banal" : l'expérience urbaine chez Michel Beaulieu." Thèse, 2011. http://hdl.handle.net/1866/6309.
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Ce mémoire se penche sur l’expérience urbaine dans les recueils de poèmes Kaléidoscope ou Les aléas du corps grave et Trivialités de Michel Beaulieu. L’objectif de cette étude est d’analyser comment la ville contribue à orienter Beaulieu vers le récit au sein même du poème et produit de ce fait une hétérogénéité générique dans ses recueils. Le premier chapitre montre que, dans Kaléidoscope, le sujet parvient à transformer son rapport à la ville natale, Montréal, en élaborant une véritable poétique du regard qui lui permet de faire l’expérience d’une temporalité kaléidoscopique, laquelle engendre du récit dans le poème. Le second chapitre analyse, dans Trivialités, le parcours mental qu’effectue le sujet poétique dans sa ville natale dans le but de mettre en récit les événements marquants de sa vie. À partir de la théorie de l’énonciation, le dernier chapitre étudie les modalités du récit dans les deux recueils de Beaulieu et montre que la cohabitation des régimes d’énonciation du « discours » et du « récit » oblige à reconsidérer la nature du sujet qui s’énonce dans le recueil en repoussant les frontières entre autobiographie et lyrisme.<br>This M.A. thesis concerns the urban experience in Michel Beaulieu’s collections of poems Kaléidoscope ou Les aléas du corps grave and Trivialités. Il aims to show that the city guides the poet towards the narrative genre within the poem. The first chapter shows that in Kaléidoscope the poetic subject transforms his perception of his hometown, Montreal, by developing a unique « vision » that allows him to experiment a kaleidoscopic temporality, which generates a narrative in the poem. The second chapter discusses the mental journey that, in Trivialités, the poetic subject performs in his hometown in order to understand the main events of his life. The last chapter, in studying the enunciation, explores how the insertion of the narrative in the poem forces us to reconsider the nature of the poetic subject by breaking the boundaries of autobiogray and lyricism.
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Bédard, Jacinthe. "Le sujet dans le temps chez Hélène Dorion : le profil d'une éthique poétique." Thèse, 2008. http://hdl.handle.net/1866/7251.
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Cunningham, Mélanie. "Anthologie des sonnets au Québec." Thèse, 2009. http://hdl.handle.net/1866/6459.
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Lagacé, Clara. "Poésie directe : la représentation de l’ordinaire dans la poésie d’Erika Soucy." Thèse, 2018. http://hdl.handle.net/1866/21998.
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Durand, Félix. "La mort sera notre dernière fraude, suivi de Fouler le monde : expérience de la ville et résistance du flâneur dans Territoires fétiches de Marcel Labine." Thèse, 2017. http://hdl.handle.net/1866/20673.
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Lane, Matthew. "La poésie québécoise comme source d’inspiration musicale." Thèse, 2011. http://hdl.handle.net/1866/6292.
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Bellerive, Fannie-Pier. "Le Cœur est une permanence, suivi de Empathie et souffrance dans Tête première / Dos / Contre dos de Martine Audet." Thèse, 2015. http://hdl.handle.net/1866/16110.
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Ce mémoire en recherche création est divisé en deux principales sections : un recueil de poésie et un essai. Le recueil, intitulé Le Cœur est une permanence, explore différentes interprétations du phénomène d’empathie dans la création littéraire. Afin que l’empathie devienne l’objet du discours, ce dernier est centré sur la relation à l’autre. L’empathie prend vie à travers deux entités, un « je » et un « tu ». Alors que le « je » entre en contact avec ses propres zones d’ombres, il s’ouvre tranquillement aux souffrances du « tu ». Au fil des poèmes, le « je » et le « tu » apaisent leur douleur en la partageant, faisant de l’empathie une voie d’accès à l’intimité. Ce déploiement de l’intime prend forme en trois temps : les sections replis de voix, point archimédien et ensembles vides. Le recueil accorde une importance particulière à la figure du corps comme véhicule de la souffrance. Il propose une réflexion sur l’amour, balançant entre naufrage et terre promise, et fait de l’enfance une pierre de touche pour interroger la douleur. La deuxième partie de ce mémoire est un essai intitulé Empathie et souffrance dans Tête première / Dos / Contre dos de Martine Audet. Divisé en trois chapitres, cet essai étudie l’empathie à l’œuvre dans le recueil de Audet, selon une approche bioculturelle. Il allie interprétation littéraire, sciences cognitives de deuxième génération et philosophie de l’esprit. Dans le premier chapitre, le concept de « simulation incarné », développé par Vittorio Gallese, permet d’interpréter la figure du corps et de suggérer qu’elle véhicule la douleur tout en étant la manifestation d’un effacement identitaire. Le deuxième chapitre se penche sur l’intersubjectivité en lien avec l’empathie. Il intègre certaines notions clés de la phénoménologie husserlienne afin d’analyser les manifestations du lien empathique unissant les deux présences parcourant le recueil de Audet. Le dernier chapitre explique comment les représentations de l’environnement dans lequel évoluent ces présences peuvent refléter leur souffrance. Pour ce faire, certains concepts liés à l’environnement, particulièrement importants pour l’écocritique actuelle, sont analysés dans Tête première / Dos / Contre dos, comme ceux de place et de nature. Ces derniers, étant construits par les perceptions propres à la cognition humaine, sont envisagés d’un point de vue bioculturel. En interprétant ces trois principaux aspects du texte (figure du corps, intersubjectivité et environnement), l’hypothèse selon laquelle la perception de la souffrance dans Tête première / Dos / Contre dos repose essentiellement sur l’empathie comme effet et objet du discours s’en voit validée.<br>This M.A. thesis, combining research and creative writing, is divided in two parts: a poetry collection and an essay. The first part, Le Cœur est une permanance, explores different interpretations of empathy phenomenon in creative writing. In order for empathy to become the subject of my poetry collection I focused it’s discourse on the possibilities of a relation to another self. This relation takes form through the two entities of “I” (je) and “you” (tu). While the "I" comes into contact with its own darkness, it opens to the sufferings of the "you". Throughout the poetry collection, the "I" and the "you" soothe their pain by sharing it, making empathy a pathway to intimacy. This use of intimacy takes shape in three stages: the sections: replis de voix, point archimédien and ensembles vides. The poetry collection also gives special importance to the conception and representation of the body as a vehicle of suffering. The compilation proposes an interpretation of love that balances between shipwreck and promised land and uses childhood as a touchstone for questioning pain. The second part of this M.A thesis is an essay entitled Empathie et souffrance dans Tête première / Dos / Contre dos de Martine Audet. The essay, divided into three chapters, examines empathy throughout Audet’s poetry collection, through a biocultural approach. It specifically combines literary interpretation with second-generation cognitive sciences and philosophy of mind. The first chapter analyzes literary representations of the body taking into account the concept of "embodied simulation", developed by Vittorio Gallese. It suggests that literary representations of the body convey pain while revealing identity issues. With this theoretical basis, the second chapter studies the relation between the “I’ and the “you”. It also examines Husserl's phenomenology point of view of intersubjectivity to suggest the presence of an empathic, albeit problematic, link between the two presences in Audet’s collection. The final chapter explains how the representations of the environment, in which the two presences progress, mirror their suffering. To do this, it takes interests in the presence of certain key concepts related to the environment in Tête première / Dos / Contre dos, such as place and nature. These concepts are particularly important for present ecocriticism. They can also be considered from a biocultural point of view in this essay, since being built by the perceptions belonging to human cognition. By interpreting three main aspects of Audet’s poetry collection (literary representations of the body, intersubjectivity and environment), the hypothesis that the perception of pain in Tête première / Dos / Contre dos is essentially based on empathy as an effect and object of discourse is being validated.
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Sowa-Quéniart, Léa. "Les phrases se jettent en bas de mon corps ; suivi de L'expérience de la douleur dans l'oeuvre de Tania Langlais." Thèse, 2018. http://hdl.handle.net/1866/22008.
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Caillé, Anne-Renée. "ouvrir fermer / les portes Suivi de Les pouvoirs mémoriels de l'objet dans Le saut de l'ange de Denise Desautels." Thèse, 2009. http://hdl.handle.net/1866/3491.
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[O]uvrir fermer / les portes, la première partie de ce mémoire, est un projet de poésie, divisé en cinq sections, qui allie le vers libre et la prose. Le sujet poétique essaie d'animer et de ranimer son "récit", son "histoire", entre autres par le rappel fragmentaire d'événements ou de lieux, la redite de paroles déjà échangées et, par l'adresse et l'apostrophe rétroactives. Derrière une énonciation piétinante, une tendance à la répétition, derrière une rythmique à la fois fuyante et brisée se trouve un questionnement: que dire et comment le dire? Que nommer et comment le nommer? Si le ton du projet est lyrique et intimiste, il veut aussi chercher à se positionner face aux variations existantes du lyrisme. La seconde partie, Les pouvoirs mémoriels de l'objet dans Le saut de l'ange de Denise Desautels, est un essai qui s'intéresse aux rapports auratiques et mémoriels (G. Didi-Huberman) entre l'écriture et les objets d'art (six sculptures de la série Island de Martha Townsend) qui accompagnent le recueil Le saut de l'ange de la poète québécoise Denise Desautels.<br>[O]uvrir fermer / les portes, the first part of this M.A. Thesis is a poetic project, divided in five sections, that combine free verse and poetic prose. The poetic subject tries to animate and reanimate fragments of her "story" by recalling memories of events or places, by repeating past conversations or by retroactively addressing thoughts. Behind a repetitive voice and behind a rythm that is at once fast or broken, we can find a reflexion: what and how can we say? What and how can we name? While the project's tone is lyrical and intimist, ouvrir fermer / les portes tries to take position facing the multiple variations of lyrism. The second part, the essay Les pouvoirs mémoriels de l'objet dans Le saut de l'ange de Denise Desautels, studies "auratic" and memorial (G. Didi-Huberman) connections between writing and the works of art (six sculptures of Island from artist Martha Townsend) that accompany the collection Le saut de l'ange by Quebec poet Denise Desautels.
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Bazin, Paul. "Incidence des développements du paramètre harmonique sur la périodisation et la structuration formelle des mélodies de Serge Garant." Thèse, 2013. http://hdl.handle.net/1866/9983.
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Anctil-Raymond, Camille. "Quand proférer, c’est faire : resignifications des filles « ingouvernables » chez Josée Yvon, Chloé Savoie-Bernard et Catherine Lalonde." Thesis, 2020. http://hdl.handle.net/1866/25063.
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Fondé sur la force performative de l’injure qui travaille l’écriture de trois poètes québécoises, ce mémoire s’intéresse aux stratégies discursives grâce auxquelles elles renversent la stigmatisation du féminin inscrite dans le discours haineux. Les « fées mal tournées », « plotes de riches », « crisse de folles », « bâtardes », « sorcières » et « chiennes » sont légion dans Filles-commandos bandées (1976) de Josée Yvon, Royaume scotch tape (2015) de Chloé Savoie-Bernard et La dévoration des fées (2017) de Catherine Lalonde. Les poètes font toutes trois entendre des voix qui se réapproprient des injures pour les « resignifier », au sens où l’entend Judith Butler dans Le pouvoir des mots (1997). À la fois injuriées et injurieuses, elles s’emparent du pouvoir qui anime l’insulte pour la dévier, y aménagent des significations inattendues et la transforment même parfois en un lieu positif d’identification. Reprenant à leur compte les injures reçues, les écrivaines les entremêlent aux personnages puissants de l’Amazone, de la sorcière et de la fée, et façonnent des figures qui rejettent les corsets dans lesquels on tente d’enserrer non seulement leur corps, mais également leur discours. Parfois violentes, vulnérables, souffrantes ou effrayantes, ces « filles » brillent d’une souveraine irrévérence. Ainsi, elles apparaissent toutes comme des incarnations de la « femme ingouvernable » (1995) de Kathleen Rowe, symbole d’insoumission. Emportés par les affects qui les habitent, leurs corps excessifs, désirants, désacralisés et parfois grotesques, voire abjects, sont traversés de pulsions et de fantasmes violents. Ce mémoire se penche donc sur les manières dont les « filles » d’Yvon, de Savoie-Bernard et de Lalonde s’approprient le pouvoir de la colère et, en se positionnant entre vulnérabilité et ingouvernabilité, se font à la fois menaçantes et rassembleuses.<br>Based on the performative force of insults that shapes the writing of three Quebec poets, this dissertation explores the discursive strategies through which they reverse the stigmatization of women embedded in injurious speech. Such vocabulary as “fées mal tournées”, “plotes de riche”, “crisse de folles”, “bâtardes”, “sorcières” and “chiennes” is plentiful in Filles-commandos bandées (1976) by Josée Yvon, Royaume scotch tape (2015) by Chloé Savoie-Bernard and La dévoration des fées (2017) by Catherine Lalonde. The poets all create voices that reclaim insults in order to “re-signify” them, as Judith Butler conceives in Excitable Speech (1997). Being both the insulted and the insulting, they seize the power that animates insults to deflect them, endowing them with unexpected meanings and transforming them into neutral and even positive terms of identification. Taking up the insults received, the writers intertwine them with the powerful characters of the Amazon, the witch and the fairy, and shape figures who reject the corsets that enclose not only their body, but also their speech. These “girls”, at times violent, vulnerable, suffering or frightening, all shine with sovereign irreverence. In that, they appear to be incarnations of Kathleen Rowe’s Unruly Woman (1995), a symbol of insubordination. Carried away by the affects that inhabit them, their excessive, desiring, desacralized and sometimes grotesque, even abject bodies, are filled with impulses and violent fantasies. This research thus examines the ways in which the “girls” of Yvon, Savoie-Bernard and Lalonde appropriate the power of anger and, positioning themselves between vulnerability and ungovernability, reveal themselves as both threatening and unifying.
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Arella, Suet-Lin. "Rêve d’artiste : la littérature, la musique et l’histoire de l’art dans la poésie d’Émile Nelligan." Thèse, 2019. http://hdl.handle.net/1866/23730.
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La fin du XIXe siècle montréalais est une période de grand foisonnement intellectuel et culturel, qui voit l’apparition de plusieurs courants artistiques, comme l’impressionnisme et le symbolisme. Ces courants artistiques manifestent des tendances analogues dans des arts différents. Plusieurs associations artistiques se forment durant cette période, et l’École littéraire de Montréal, fondée en 1895, est l’une des plus importantes. Un de ses membres les plus célèbres est le poète Émile Nelligan, qui rédige une œuvre fulgurante entre 1896 et 1899. Par ses liens avec les autres membres de l’École, Nelligan est proche des changements culturels de son époque, et plusieurs de ses poèmes font référence à des arts autres que la littérature, comme la peinture et la musique. Notre objectif est d’étudier comment les tendances artistiques principales de l’époque, particulièrement en peinture et en musique, se présentent dans l’œuvre poétique de Nelligan. Notre étude s’appuie sur la démarche de Gérard Dessons, qui analyse les éléments constitutifs du discours poétique pour en extraire le sens. Nous désirons apporter une meilleure compréhension des courants artistiques présents à Montréal durant cette période et montrer comment Nelligan emploie des procédés littéraires analogues pour incorporer les traits principaux de ces courants artistiques dans son œuvre. Nous voulons aussi éclairer la nature transdisciplinaire de l’œuvre de Nelligan et sa profonde sensibilité aux relations entre les arts, même s’il n’a pratiqué que la littérature.<br>The end of the 19th century in Montreal is a time of great intellectual and cultural development, which sees the birth of new artistic currents such as impressionism and symbolism. These currents appear in many different arts of the time. Many artistic associations are created during this period, and the École littéraire de Montréal is one of the most important among them. One of the most famous members of the École is poet Émile Nelligan, who produced a great amount of work between 1896 and 1899. Through his connections with the other members of the École littéraire de Montréal, Nelligan was in contact with the cultural and artistic changes of the time, and many of his poems include references to arts other than literature, such as painting and music. Our aim is to study how the artistic currents of the time, particularly in painting and in music, appear in Nelligan’s poetry. We base our study on the approach of literary analysis by Gérard Dessons, which is based on the analysis of different literary elements and techniques that make up the poem in order to derive its meaning. We wish to bring a greater understanding of the artistic trends present in turn-of-the-century Montreal and how Nelligan uses literary techniques to incorporate the principal techniques and ideas of those artistic currents in his work. We also wish to show the transdisciplinary nature of Nelligan’s work and his great sensibility to the relationships between the arts, even if he practiced only literature during his lifetime.
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SONI, RAJI SINGH. "Dissident Secularism: Queer Exegesis, Transatlantic Modernism, and the Discipline of Modernity." Thesis, 2014. http://hdl.handle.net/1974/8642.
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This dissertation examines the interplay of queer sexuality, theology, and transatlantic modernism in the oeuvres and critical receptions of T.S. Eliot (1888-1965), Hart Crane (1899-1932), and W.H. Auden (1907-1973). As an interdisciplinary study in literary criticism and of each author’s reception history, this thesis reads the poetry, critical prose, and correspondence of Eliot, Crane, and Auden with focused reference to queer theory and continental philosophies of religion extending from Immanuel Kant’s Religion within the Limits of Reason Alone and Søren Kierkegaard’s pseudonymous authorship to Jacques Derrida’s deconstruction of aesthetics, ethics, and politics in the post-Kantian legacy.
Gauging the “post-secular turn” in cultural criticism, the dissertation develops a critique of “epistemic secularism,” which constitutes a normative framework for scholarship in many branches of the humanities. To examine “the secular limits of discipline” at the junction of queer theory and modernist studies, it examines how literary critics and queer theorists define modernity and conceptualize subjectivity at the secular limits (or limitations) of their fields. Imbrications of theology and queerness in the works of Eliot, Crane, and Auden occasion this study’s response to epistemic secularism and prompt its recalibration of secularism in the ethical terms of “mere reason,” rather than as an episteme rife with antireligious politics.
Research undertaken for this thesis is guided by two foundational questions: 1) Do extant models for the study of queer sexualities presuppose secularism or enforce secularization as a benchmark for the “achievement of modernity”? 2) Are religious foundations conceivable for queer subjects to whom secularism remains a key factor in the emancipatory history of sexual cultures? The dissertation argues that, for better and for worse, secularism has become a blueprint in the metropolitan West for thinking sexual modernity as progressive and achievable. Notwithstanding such provisos, this study finds that the “proper” subject in queer-modernist studies is in essence neither nonreligious nor antireligious. Rather, reading with and against the grain of secularism’s episteme, it uncovers in the corpuses of Eliot, Crane, and Auden a radical conception of theology as a positively queer endeavour in an era of “liberated” secularist polities.<br>Thesis (Ph.D, English) -- Queen's University, 2014-02-28 10:37:43.026
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Litterer, Katelyn S. "I Came To in Conflagration." 2013. https://scholarworks.umass.edu/theses/1058.
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Claros, Yujhan. "(Post-)Classical Coloniality; Identity, Gender (Trouble), and Marginality/subalternity in Hellenized Imperial Dynastic Poetry from Alexandria, with an epilogue on Rome." Thesis, 2021. https://doi.org/10.7916/d8-rtx8-ez62.
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This dissertation is about how dominant identity is constructed through the centering and incorporation of marginal and subaltern subjectivities in Ancient Greek thought, with some preliminary consideration of the Classical Age but chiefly devoted to a study of Hellenistic poetic aesthetics at Ptolemaic Alexandria. The thesis argues ultimately for a specifically Queer and Afrocentric reading of the ArgonautikaI use postcolonial methods, tactics, and strategies to theorize the genealogical intersection(s) of gender and race, and explore the ancient roots of racism. I am indebted in my work to Critical Race Theory, Gender and Queer Theory, Intersectionality Theory and Decolonial Studies.
Guided by the millennial discourses of the Coloniality of power and the contributions of Aníbal Quijano and his intellectual heirs to critical thought and theory—positing the fundamental and central functions of epistemological thought, knowledge-production and the control and regulation of knowledge within oppressive social orders as specifically and particularly interrelated practices in the European colonialism of Modernity, and enabling us to deconstruct out of our contemporary knowledge and social practices the oppressive consequences in Modernity as a result of the aftermath of Old World regimes in the New World—the argument throughout this dissertation subjects monuments of Classical Greek literature to an analysis that traces loosely a genealogy of how ideology and identity were constructed and fabricated in imperial contexts in the aftermath of the Greco-Persian Wars, during which time Hellenic peoples were first exposed to Empire, and some great portions of the Greek-speaking world came under the dominion of the Achaemenid imperial regime.
In a manner of speaking, this dissertation deconstructs the intersections of identity, including gender (and ethnicity) and “race”, at pivotal moments in the history of Greek Antiquity. Principal test-cases for this study analyze monumental texts produced in societies under the hegemony of “democratic” imperial authority at Athens in the 5th Century BCE and Ptolemaic Egypt in the 3rd Century, in the aftermath of Alexander’s conquests. This dissertation explores how the control and regulation of racialized and ethnic marginalities and subalternities is critical to civic and political structures in the Classical Age, as well as how the interrelated concept of the gendered other, in artistic expressions of knowledge and authority—high literary monuments—functioned critically to reify and justify imperial and colonial practices in the Ancient Greek World.
Chapter 1 consists primarily of readings of the Wesir-Heru (“Osiris-Horus”) dynastic succession myth from Egypt in representations of kingship and dynastic succession particularly in Africa and African spaces in the texts of Pindar, Herodotos, and Aiskhylos, including an exploration of the what at the instigation of Jackie Murry I call the Imagistic Poetics of Pindar and Aiskhylos in comparative consideration of Egyptian symbolic literary culture, including even the mdw-ntjr (“hieroglyphs”), and an especially instructive close reading of the center of the Agamemnon. To support my readings of Aiskhylos’ interactions with Egypt and Egyptian thought, I also consider how Aiskhylos interacted with the legacy of the Danaid myth. Situated in their proper historical contexts these readings demonstrate that during the height of the Achaemenid Empire in the Mediterranean World, which coincides incidentally with what we call the Greek Classical Age, Hellenism and Africanism were not mutually exclusive.
In fact, as we see early in Chapter 1 with Pindar, Africanism is coextensive with Panhellenism. Furthermore, and critically, as part of my readings of gender as racialized—i.e., constructed under the Ancient Greek linguistic paradigms that govern “racial” otherness (genos)—I show that Blackness, beyond representing masculinity and the male body in the Greek artistic and visual imagination, is separable notionally in the Ancient Greek imagination, and in critical contrast to the modern and contemporary situation, from Africanism. In order to perform this work, I call upon archaeology and material evidence to render a more coherent picture of the networks of culture accessible in the micro- and macro-regions of an interconnected and transnational Ancient Mediterranean. In Appendixes to Chapter 1, I also provide brief readings of intertextuality in the Hellenistic reception at Alexandria of Classical Greek interactions with Egypt, Libya, and the African cultural past and show the embeddedness of that interaction in literary encounters especially, a fact evident from the Classical Greek texts.
Chapter 2 explores the Hellenistic origins of Afro-Greek subjectivity in the literary record with Theokritos at Alexandria. I explore “race” in the West and the formation of Greek ethnicity in the East as a “kairological” artistic and poetic projection that exposes of the roots of 3rd-century universalist and globalist Ptolemaic imperial ideology. I also explore Space and identity, the social imaginary, and consequent(ial)ly the gendering of space in the poetry of Poseidippos. In my readings, we see texts engaged intimately with discourses about Sovereignty, and implicitly with the history of Rome and Qrt-ḥdšt (“Carthage”).
Chapters 3 and 4 function as a pair or couple. After a full historical and social contextualization of Ptolemaic Alexandria in the Hellenistic Age of the 3rd Century BCE, as well as an exploration of an inclusive range of Queer (including “LGBTQ+”) subjectivities in Alexandrian poetry in Chapter 3, in Chapter 4 I argue that in the Argonautika of Apollonios Rhodios Medeia represents a Queer woman who endures systematic heteronormative and patriarchal oppression, or heterosexism. This opens up Book 4 of the Argonautika for fertile close readings of the inclusive and all-encompassing aesthetics that constitute Hellenistic poetry, including authentically Kemetic (“Egyptian”) voices.
The Epilogue provides a roadmap for applying these analytic tools to the Latin Literature of Rome.
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Collins-Sibley, Miles A. M. "Wrap Your Body. Come Home." 2019. https://scholarworks.umass.edu/englmfa_theses/98.
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Samson, Andrée-Anne. "Du littéraire sans littérature : la logique de la parole dans l’œuvre de Pierre Perrault." Thèse, 2009. http://hdl.handle.net/1866/4422.
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Ce mémoire prend comme point de départ le paradoxe central qui marque l’écriture de Pierre Perrault : le fait qu’en dehors de son travail cinématographique, il écrit des textes littéraires alors qu’il refuse à la fois le statut d’écrivain et la catégorie même de « littérature ». L’analyse du discours des poèmes du recueil Gélivures et des essais du recueil De la parole aux actes permet de montrer que Perrault arrive, grâce à tout un imaginaire de la parole, à écrire en se dégageant symboliquement de la littérature, dont il critique la volonté de conquête. Ce mémoire fait appel à une critique où la réflexion sur la langue joue un grand rôle, à la croisée de l’histoire et du social.
Le premier chapitre traite de ce que signifie la parole chez Perrault et de ce qu’elle implique. Sont abordés en particulier le champ sémantique qui entoure ce motif omniprésent dans son œuvre ainsi que les rapprochements métaphoriques entre parole, mémoire et identités. Le deuxième chapitre porte sur les manifestations plus directes de la parole, soit le don que fait Perrault de la parole à travers son œuvre. Sont étudiés l’intertextualité, la mise en page et le travail de la citation. La volonté de prise de parole de Perrault lui-même est étudiée au dernier chapitre. Son écriture est alors envisagée comme un combat pour la défense d’une parole qui est d’ailleurs étroitement liée à sa quête identitaire, laquelle inspire un style foncièrement polémique et la recherche d’une énonciation qu’on pourrait qualifier de performative.<br>This memoir stems from the central paradox which defines the writings of Pierre Perrault : the fact that apart from his cinematographic work, he writes literary texts all the while refuting the status of writer as well as the category of literature. Analysis of the poetic discourse in the poems of Gélivures and the essays from De la parole aux actes demonstrates that Perrault is able, by grace of the imaginary of speech, to write while symbolically withdrawing from literature, which he whole heartedly criticises. This memoir calls on the idea that language plays a significant role on the crossroad of history and society.
The first chapter deals with the significance of what is voiced by Perrault and what this implies. The subjects treated in particular are the semantic aspects which encompass the omnipresent motive in his work including the metaphoric ties between one’s voice, one’s memory and one’s identity. The second chapter reflects upon more discreet manifestations of one’s voice, namely, the contributions Perrault makes through his work to what is voiced. Addressed are intertextuality, page layout, and quotation. Perrault’s desire to take his leave to speak is studied in the final chapter. His writing is envisioned as a struggle to defend a voice which is linked directly to his quest for identity that inspires a strongly polemic style and the search for an enunciation which leads to action.