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Burman, Lars. "Den svenska stormaktstidens sonett." Stockholm : Almqvist och Wiksell, 1990. http://catalogue.bnf.fr/ark:/12148/cb35519731h.
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Rippey, John. "Woodblock Sonnets and Floating World : reflections on writing 'Woodblock Sonnets'." Thesis, Lancaster University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.656335.
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This essay explores the writing of "Woodblock Sonnets," a poem composed of fifty-six sonnet stanzas. The essay represents a sustained enquiry into this poem's development, from its first inchoate sources and urges, to realization through shape, structure, and artifice. The development of the poem is tracked in five central writing concerns: content, language, form, time, and universality. In each concern, "Woodblock Sonnets" is observed to evolve, over the course of the writing, from more latent and intuitive versions into more manifest and deliberated ones. The poem emerges as creation of inspiration and labor, as both a spontaneously occurring phenomenon and a crafted object. In order to explore the reason of poetry, the accounts of this evolving search for significances are extended into consideration of the advantages which specific poetic practices - image, ekphrasis, rhyme, the sonnet form, and so on - provide a poem. "Woodblock Sonnets" possesses a cross-cultural nature, and the essay explores the poem's unusual fusing of Eastern and Western idioms and sensibilities, as well. "Woodblock Sonnets," the conclusion suggests, takes up the intrinsic interconnectedness of lives - natural and human, past and present, and especially our own lives and those of others, in dimensions that range from the personal to the cultural. The poem demonstrates a primary interest in revealing and interpreting relationships. Poetry, in general, is conceived as an opportunity for fusing the figurative and literal.
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Roberson, Triche. ""The conceit of this inconstant stay": Shakespeare's Philosophical Conquest of Time Through Personification." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1203.
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Throughout the procreation sonnets and those numerous sonnets that promise immortality through verse for Shakespeare's beloved young man, the poet personifies time as an agent of relentlessly destructive change. Yet Shakespeare's approach to the personification of time, as well as his reactions to time, changes over the course of the sequence. He transforms his fear of and obsession with time as a destroyer typical of most sonnets to an attitude of mastery over the once ominous force. The act of contemplating time's power by personification provides the speaker with a deeper awareness of time, love, and mutability that allows him to form several new philosophies which resolve his fear. By the end of the sequence, the poet no longer fortifies himself and the beloved against time's devastation because his new outlook fosters an acceptance of time that opposes and thus negates his previous contention with this force.
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Mobley, Aaron. "Sonnets and psalm." Thesis, The University of Arizona, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3605915.
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Sonnets and Psalm investigates the relationships between the sacred nature of Psalm 91 and the secular nature of two sonnets, William Shakespeare's Sonnet 73 and Henry Howard, Earl of Surrey's Sonnet 8. Sonnets and Psalm exploits a dynamic that arises from the juxtaposition of disparate musical universes, choral and instrumental, and the unique and, at times, ineffable aesthetic qualities that emerge as a result of the intentional ordering of musical language and block structures. In a five movement form the listener is guided from vocal events painted on orchestral palettes, to solely instrumental movements, and back again. While the movements can stand independently of each other, there are ponderous transformations of material within and throughout the piece that create a thread that functions as a consistent generative unifying element. A recurrent utilization of motive, color, register, pitch-specific sonorities and gesture, enhances the unity of the work while exploiting the contradistinctive nature of each movement. Relational aspects of hidden and transformed materials from the Psalm and the sonnets (including the Mosaic movements) that are present throughout create a forward and back-relating dynamic. There is a programmatic element at work as well that in itself is a statement: after the sonnets and the mosaics, the listener is finally presented with the Psalm, a conclusion.
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Mobley, Aaron Darnell. "Sonnets and Psalm." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/311586.
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Sonnets and Psalm investigates the relationships between the sacred nature of Psalm 91 and the secular nature of two sonnets, William Shakespeare's Sonnet 73 and Henry Howard, Earl of Surrey's Sonnet 8. Sonnets and Psalm exploits a dynamic that arises from the juxtaposition of disparate musical universes, choral and instrumental, and the unique and, at times, ineffable aesthetic qualities that emerge as a result of the intentional ordering of musical language and block structures. In a five movement form the listener is guided from vocal events painted on orchestral palettes, to solely instrumental movements, and back again. While the movements can stand independently of each other, there are ponderous transformations of material within and throughout the piece that create a thread that functions as a consistent generative unifying element. A recurrent utilization of motive, color, register, pitch-specific sonorities and gesture, enhances the unity of the work while exploiting the contradistinctive nature of each movement. Relational aspects of hidden and transformed materials from the Psalm and the sonnets (including the Mosaic movements) that are present throughout create a forward and back-relating dynamic. There is a programmatic element at work as well that in itself is a statement: after the sonnets and the mosaics, the listener is finally presented with the Psalm, a conclusion.
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Frossard, Leticia. "Addressivity in Shakespeare's sonnets." Thesis, University of Nottingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313199.
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Innes, Paul. "Subjectivity in Shakespeare's sonnets." Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/3508.
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This thesis undertakes a study of Shakespeare's sonnets that seeks to locate them in the determinate historical circumstances of the moment of their production. Subjectivity in the sonnets is read as the location of a series of conflicts which are ultimately socio-historical in nature. Contemporaries identified the sonnet form as a discourse of the aristocracy, especially in its manifestation of courtly love. Shakespeare's sonnets attempt to manage the pressures that the history of the late sixteenth century impose upon this discursive formation from within the genre itself. The first and second chapters of the thesis set out the historical framework within which the generic requirements of the sonnet were played out, and discuss the tensions which result. Chapter three reads the first seventeen sonnets in the light of this work, arguing against a view of these particular poems as a homogeneous group of marriage sonnets. These sonnets set out the homosocial considerations that underpin the relationship between the addressor and the young nobleman in a way that foreshadows the conflicts that are played out in later poems. Chapter four traces these conflicts in terms of the subjectivity of the young man, noting that the historical crisis in the ideology of the aristocracy renders his subject-position unstable. Chapter five relates this result to the related subjectivity of the adressor, the poetic persona of the poems, and reads his position as noting the disjunctions in the dominant ideology, while nevertheless being unable to move away from its interpellation of his position. Chapter six notes the consequent disruption of gendered identity, both for the "dark lady" and the poetic persona himself. The conclusion argues for a materialist perspective on the sonnets' problematising of subjectivity in the Renaissance.
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Ballantyne, Aileen Helen Georgina. "Voiceprints of an astronaut : a poetry collection, and, Politics and the personal in the sonnet and sonnet sequence : Edwin Morgan's 'Glasgow Sonnets' Tony Harrison's 'from The School of Eloquence' and selected sonnets by Paul Muldoon." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/10583.
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“Voiceprints of an Astronaut” is a multi-faceted collection of poems that explores the fluid borders between memory and the imagined, the personal and the sociohistorical. The “voiceprints” of the title poem are the words, both imagined and real, of the only twelve men who ever walked on the moon. My own device, of an imagined ‘interview’ with figures from history, is deployed in the title poem. It is also used, for example, in the form of voiceprints from R.L. Stevenson, (“Tusitala”), Mary Queen of Scots’ maidservant, (“Beheaded”,“A Prayer fir James VI”), an acrobat-magician from the Qin Dynasty, (Bi xi Terracotta) and a time-travelling 14th century monk transposed to the Scottish Poetry Library (“In the Library”). In poems such as “Earthrise”, “Starlight from Saturn”, “In the Library”, and “Lines for Edwin Morgan” the tone is lyrical, taking the form of the sonnet, or sometimes simply reflecting the ghost of a sonnet framework. Recent events such as the Haiti earthquake are reflected, at times, by a purely personal response, such as in “Beads”, while poems about the Aids epidemic in the 80’s, (“Lunch-times with Rick”, “The Quilts”) spring from a period as Medical Correspondent for the Guardian, covering Aids conferences in London, Stockholm, Montreal and San Francisco. Others, such as “Roosevelt’s Bats”, “Fire-and-Forget” and “At Sea” are responses to modern war and conflict. In all of these, my aim has been to explore the political through the personal. The poems in this collection reflect an adult life split, almost equally, between two cities: Edinburgh and London. Regular visits too, to North America are another influence. An important part of the journey involved in writing these poems was a discovery of a Scots voice I thought I’d misplaced, only to find again, in poems such as “Beheaded” or “Haud tae me”. Some of these poems are autobiographical, dealing with parenthood, childhood, and growing up. Others, such as “Dana Point” or “Boy with Frog” celebrate a moment, a time and a place. In the case of the series of poems beginning with “Jim” and ending with “Black and White” the places and times take the form of memories, both in Scotland and Canada, of a much older sister. The critical essay that forms the second part of this thesis is entitled “Politics and the Personal in the Sonnet and Sonnet Sequence: Edwin Morgan's “Glasgow Sonnets”, Tony Harrison's “from The School of Eloquence” and selected sonnets by Paul Muldoon”. The first chapter examines the use of the sonnet form in Edwin Morgan’s “Glasgow Sonnets”; the second chapter concerns the sonnets written by Tony Harrison in from The School of Eloquence and Other Poems, published in 1978, while the third chapter looks at selected sonnets by Paul Muldoon.
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Chong, Kenneth Tze Aun School of English UNSW. "Donne???s Holy Sonnets and Calvin." Awarded by:University of New South Wales. School of English, 2006. http://handle.unsw.edu.au/1959.4/26154.
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Criticism on Donne???s Holy Sonnets has traditionally been concerned with trying to find an explanation for the doubt, anxiety, and despair that is often expressed by the speaker of those poems. In recent decades, critics have increasingly made recourse to Calvinist theology in an effort to explain these melancholy states of mind. The accounts that such critics provide of ???Calvinism,??? however, have been varied and largely inadequate, mainly because they fail to engage with Calvin???s work at the level it requires. My thesis seeks to correct such deficiencies by providing a detailed reading of Calvin???s view on salvation and the way in which it is received. Calvin argues that we obtain salvation through a firm and certain faith, a faith that is nevertheless attacked by the unbelief that still resides in the believer. In other words, there is a division between the flesh and the spirit within the soul of the believer, which means that he or she is never free (until death) from the sinful temptations of this life. This division, which Calvin invokes to reconcile the uncertainties of the Christian life with the assurance of faith, is dramatised in the Holy Sonnets. In the five poems that I analyse, the speaker is torn between a desire for righteousness and an inclination toward evil, a division that is also represented in the structural qualities of the text. The various temptations which the speaker registers and confronts (and often falls to) are, I believe, a demonstration of Calvin???s view that the regenerate person is in continuous warfare against the remnants of the flesh.
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Roig, Miranda Marie. "L'art de Quevedo dans ses Sonnets." Paris 4, 1987. http://www.theses.fr/1987PA040074.
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Les deux premières parties s'efforcent d'apporter, à la suite d'une analyse minutieuse des 502 sonnets de Quevedo, une meilleure connaissance de l'originalité de son style. Découvrir et exprimer exactement l'analogie apparait au centre de l'activité créatrice du poète. L'étude des moyennes par sonnet d'utilisation des tropes et figures révèle des variations selon le thème traité et donc la richesse et la variété de l'art de Quevedo. Chez lui, idées, sentiments et sensations apparaissent indissolublement lies et le moi du poète se manifeste avec pudeur. Les phénomènes stylistiques déterminent la construction du concepto et trouvent un lieu adéquat et harmonieux dans la forme du sonnet. La troisième partie utilise les résultats chiffrés de l'analyse stylistique pour s'attacher à répondre aux problèmes d'attributions et de datations que pose la poésie quevédienne. L'art de Quevedo se caractérise en effet, d'une part, par un certain nombre de constantes d'autre part, par une évolution du début à la fin de sa création poétique. Ainsi ont pu être établis des degrés de probabilité d'attribution pour six sonnets qui apparaissent chacun dans un seul manuscrit. En ce qui concerne la chronologie, une datation plus précise a été proposée pour 77 sonnets et une situation dans l'une des quatre périodes de la création quevédienne pour 273 sonnets non datés jusqu'iciA detailed analysis of Quevedo's 502 sonnets is provided in part I and part II, which makes it possible to appreciate the originality of his style more thoroughly. The discovery and accurate expression of analogy seem to lie at the very heart of the poet's concerns and activity. A statistical study of the tropes and figures shows how the style varies according to the theme of each sonnet, and reveals the richness of Quevedo's art. Ideas and feelings are indissolubly linked and the poet's ego discloses itself with delicacy. Stylistic phenomena determine the construction of the concepto, and are adequately and harmoniously seated in the sonnets’ form. The statistical results thus obtained are next used, in the third part, to address the problems of attribution and dating raised by Quevedo's poetry: his art is best characterized, on the one hand, by a certain number of constants and, on the other hand, by a specific evolution from the beginning to the end of his creative work. It has thus been possible to establish different degrees of probability for the attribution of six sonnets which are known from one single manuscript. Moreover, as far as chronology is concerned, more precised dates are put forth for 77 sonnets as well as an approximate localization within one the poet's four main periods for 273 sonnets which had never been dated hitherto
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Roig, Miranda Marie. "L'Art de Quevedo dans ses sonnets." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37608068x.
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Busetto, Nicolo' <1988>. "A computational analysis of Shakespeare's Sonnets." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/11652.
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The paucity of possible clear interpretations, narrative frameworks, and common constants has led us to seek and adopt an innovative approach to Shakespeare’s Sonnets, in order to avoid falling into the umpteenth compilation study. The innovation lies in choosing irony as a specific semantic category to achieve the universal. To do this, experimentation with the use of psychological-linguistics theory known as Appraisal was used for the annotation, and through the aid of artificial intelligence a new inquiry that allows answering the paramount questions regarding this work. The results led to the conclusion that some sonnets could have been written in the by the end of author's life and not in the last decade of the16th century. This emerges from an in-depth evaluation of the author’s position since his intentions were more similar to that of his last poetic production, that of romances. Moreover, the juxtaposition between human interpretations and artificial intelligence highlighted how the use of irony in sonnets is a kind of sarcasm with educational ends, so as to convey teaching to posterity.
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Gressman, Melissa R. "Performing Sincerity in Elizabeth Barrett Browning’s Sonnets from the Portuguese." University of Toledo Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1450401175.
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Kwan, Ka-po Eleanor, and 關嘉寶. "The rhetoric of John Donne's divine sonnets." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953505.
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Allaigre-Duny, Annick. "L'écriture poétique de Jorge Cuesta : les sonnets." Bordeaux 3, 1995. http://www.theses.fr/1995BOR30001.
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La mince production poetique de jorge cuesta (veracruz, 1903 - mexico, 1942), jamais constituee en recueil du vivant de l'auteur, offre la particularite de comprendre un grand nombre de sonnets. Ce choix formel nous est apparu comme susceptible de constituer un corpus coherent pour apprehender l'ecriture poetique de j. Cuesta. Toutefois, cette forme fixe et largement codifiee, engage a considerer chaque poele dans son unite, en soi et pour soi. C'est pourquoi, notre demarche se fonde sur une analyse intrinseque des poemes, menee sans a priori. Dans une premiere partie, nous avons donc mis a nu le fonctionnement d'un nombre representaif de sonnets. Du degagement du fonctionnement de ces poemes a emerge un sens que la densite de l'ecriture rendait souvent opaque. Consecutivement, sont apparus des rseaux de signification qui liaient l'ensemble et tissaient la toile d'une ecriture originale. La seconde partie est donc une reconstitution de cette ecriture, autour d'un objet qui en est, a nos yeux, non seulement le symbole mais le principe meme : le miroir. Le premier chapitre de cette seconde partie envisage les rapports de la poesie cuestienne a ses sources et la facon dont le poete s'approprie ses lectures. Le second, la dynamique de l'ecriture qui mobilise la figure du miroir a la fois en tant que cadre, superficie faussement reflechissante et profondeur revelatrice. Le troisieme aborde plus specifiquement la forme "sonnet" : de la confrontation des sonnets cuestiens au modele virtuel puis a de modele concrets se dessine la motivation du choix formel; le sonnet est une construction architecturale dont les fondations, immuables sont constituees par les quatre strophes. Dans ce contexte les rimes, les jeux metriques, l'agencement des phrases et de s syntagmes font et defont les quatre blocs, eprouvant leur rigidite. A l'inertie tombale, le sonnet cuestien allie le mouvement vital: le sonnet, reunissant indissolublement vie et mort est lieu d'eternite, une reponse - bien que transitoire - a l'inexorable fuite du tempsThe poetry of jorge cuesta (veracruz, 1903 - mexico 1942) does not constitute a very dense production and it was never published in a book during the writer's life-time; its mains characteristic, however, lies in the great number of sonnets which it is composed of. This formal choice has appeared to us a being the most likely to present a coherent syllabus aiming to understand jorge cuesta's poetic writing-style. This fixed and largely codified form, however, invite s us to consider each poem as a unit "in se" and "per se". This is why our method is based on a specific analysis withou t any "a priori" approach. In the first part, we have exposed, through a representative number of them, how cuesta's sonnets worked. After discovering the way these poems worked we've been able to spot a meaning which the density of cuesta's writing-style made rather obfuscating. Then, we have traced back networks of significance which linked together all the sonnets and created an original writing-style. The second part is then a re-construction of that writing-style centered on an object which is, to our mind, not only its symbol but its very principle : i. E the looking-glass. Eventually, our analysis is a study about the form of the "sonnet" : for cuesta the sonnet is an architecture whose foundations, are constituted by the four stanzas. In such a context, rime, meter and syntactic arrangements do and undo the stanzas thus testing their strqenth. The cuestian sonnet is both the seat of life and death - a polace of eternity in the inexorable flow of time
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Ginestet, Gaëlle. "L'écriture mythologique dans les sonnets amoureux élisabéthains." Montpellier 3, 2005. http://www.theses.fr/2005MON30055.
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Les recueils de sonnets amoureux élisabéthains, peu étudiés en France, forment pourtant un corpus large et riche. Les références et allusions mythologiques, majoritairement tirées des œuvres d'Ovide, y sont légion. Cette thèse s'attache à analyser la manière dont la mythologie classique s'intègre dans les recueils. En premier lieu, cette dernière s'y inscrit par référence ou par allusion. En raison de la brièveté de la forme du sonnet, le mythe ne peut y apparaître dans son ensemble. Les poètes élisabéthains doivent donc sélectionner des thèmes ou des motifs conformes à la rhétorique amoureuse. Cette sélection impose un certain nombre de modulations sur la trame originelle des mythes : effacement, modification, adjonction, fusion. En deuxième lieu, la mythologie s'inscrit dans la structure du recueil, dont elle informe les thématiques et les relations entre les personnages. Premièrement, les amours mythologiques représentent l'impossible idéal amoureux. Deuxièmement, cet idéal étant difficile à atteindre, l'état amoureux engendre des oppositions et des renversements incessants, notamment entre plaisir et douleur, qui peuvent toutefois conduire à l'harmonie, symbolisée par l'union de Mars et Vénus. Troisièmement, les oppositions nous mènent à considérer l'amour sur le mode de la transivité : les métamorphoses du Poète et de la Dame. Enfin, l'amour engendre l'art. La beauté idéale de l'être aimé et les états d'âme de son Amant sont transmués en œuvre poétique, qui immortalise leurs deux nomsThe Elizabethan sonnet sequences, which are little studied in France, nevertheless form a vast and rich corpus. The numerous mythological references and allusions are mostly drawn from Ovid's works. This dissertation seeks to analyse the manner in which classical mythology is integrated in the sequences. In the first place, mythology is inscribed in them by reference or allusion. Owing to the shortness of the sonnet form, the myth cannot appear integrally in a poem. Hence, Elizabethan poets must select the themes or motifs they deem to be in keeping with the rhetoric of love. This selection prescribes a certain number of modulations on the original narrative : obliteration, alteration, adjunction, fusion. In the second place, mythology inscribes itself in the structure of the sequence, and fashions the thematics and the relations between the characters. Firstly, mythological loves represent the impossible love ideal. Secondly, as this ideal is difficult to attain, being in love initiates endless oppositions and reversals, which can however lead to a harmony symbolised by the union of Mars and Venus. Thirdly, oppositions conduct us to consider love on the transitory mode : the Poet's and the Lady's metamorphoses. Finally, love breeds art. The ideal beauty of the loved one and the Lover's moods are transmuted into a poetic work, immortalising both their names
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Roig, Miranda Marie. "Les Sonnets de Quevedo : variations, constance, évolution /." Nancy : Presses universitaires de Nancy, 1989. http://catalogue.bnf.fr/ark:/12148/cb350566695.
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Kwan, Ka-po Eleanor. "The rhetoric of John Donne's divine sonnets." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25334955.
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Krenz, Michael. "The sonnet is alive and well- a study of the sonnets of Richard Wilbur, John Berryman, and Gwendolyn Brooks /." View online, 1990. http://repository.eiu.edu/theses/docs/32211998880828.pdf.
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Picard, Louis. "Rhétorique et savoir maniéristes : sonnets amoureux de Ronsard (Le premier livre des Amours), Góngora, Marino (Rime amorose) et Shakespeare (Sonnets)." Paris 7, 2008. http://www.theses.fr/2008PA070075.
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Dans Le Premier Livre des Amours de Ronsard, comme les sonnets amoureux de Gôngora, les Rime de Marino et les Sonnets de Shakespeare, une même rhétorique est à l'œuvre. La conscience de venir après, dans un pétrarquisme second qui peut aussi bien être un contre-pétrarquisme, détermine une esthétique merveilleuse au terme de laquelle l'accent semble résolument basculer des res aux verba. L'enjeu est alors de déterminer la teneur en sérieux de cet exercice de brillant formel qui semble d'emblée récuser toute interprétation définitive, à la manière d'un jocus serius indécidable. Nous faisons l'hypothèse que dans ces sonnets où s'exacerbent nombre de pratiques renaissantes, l'expressivité à la fois maximale et codée est articulée à un discours qui valorise les formes de la complexité. L'étude de ce discours procède en trois temps : investissement de la forme du sonnet, caractéristiques de la représentation, teneur e modalités des significations engagées. Une paradoxologie s'en dégage. Paradoxe des énoncés merveilleux métaphoriques ou oxymoriques dont les concetti que produit le sonnet sont l'emblème ; paradoxe d'une représentation à la référence incertaine ; paradoxe du régime équivoque, contradictoire ou allusif de le signification. La paradoxologie maniériste propose cependant un discours unitaire dont la persona lyrique se porte garante. Trame incertaine, le sujet maniériste est avant tout une voix, puissance d'énonciation capable de garantir la force de l'évidence à l'expérience de la complexité. La richesse verbale ne se laisse pas troquer contre un sens apaisé ou univoque, mais la force de renonciation s'efforce d'y suppléerRonsard's Premier Livre des Amours, Gôngora's love sonnets, Marino's Rime as well ai Shakespeare's Sonnets offer similar rhetorics. The conscience of not coming first, of writing after Petrarch — perhaps even against Petrarch —, requires an esthetics of maraviglia, definitely shifting the weight from res to verba. Which leads to question the degree of earnestness of such an effects-oriented discourse, that seemingly rejects, under the aegis of the jocus serius, every steady interpretation available. We shall assume that in these sonnets where many an early-modern practice is highly condensed, expressivity, both hyperbolic and coded, embodies a specific, complexity-oriented, discourse. Mannerism - contemplated from the point of view of the practice of the sonnet, of the specificities of its representation and of the management of meaning - calls for a paradoxology. Paradox can come under the guise of metaphors and oxymorons -highly condensed in concetti -, of the uncertain reference of the representation or of the allusive unequivocal, self-conflicting significations. However, paradoxology calls for an unified discourse, guaranteet by the lyric persona. The mannerist self may be an uncertain complexion: he above ail is voice, enunciative might, able to assume the strengh of evidence within the experience of complexity. Verbal cornucopia will not be converted into any stable or pacified meaning, but the enunciative force may stand for it
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Kulagin, Artyom. "Breaking the Conventions : Shakespeare, the Fair Young Man and the Dark Lady." Thesis, Högskolan Dalarna, Engelska, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:du-2098.
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The aim of this essay is to show how Shakespeare’s sonnets violated and reversed the conventional ideas in terms of beauty and idealisation. Furthermore, I will examine the way Shakespeare presented his beloved woman as an absolute opposite of the one created by Petrarch, and how he shifted all the divine metaphors from a woman to a fair young man, creating a new object of praise and admiration.
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Ardiles, Rafael Borges. "35 sonnets ou o horror paradoxal da vida." reponame:Repositório Institucional da UFPR, 2013. http://hdl.handle.net/1884/36599.
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Orientador : Prof. Dr. Caetano Waldrigues GalindoDissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 12/12/2013
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Área de concentração: Estudos Literários
Resumo: 35 Sonnets de Fernando Pessoa é uma obra movida pelo paradoxo. Escritos num período de intensa meditação, seus poemas refletem em larga medida as diferentes formulações metafísicas que animaram o poeta ao longo de toda a década de 1910. Nessas formulações tomam parte, frequentemente, concepções opostas sobre a realidade. O poeta, no entanto, em lugar de se posicionar favoravelmente a um ponto de vista definido, traça por meio dos 35 sonetos um diagrama dos problemas envolvidos no ato de conhecer. Dessa forma são trabalhados problemas como o livre-arbítrio e a oposição entre a essência e a aparência. Esses problemas levantam uma oposição ulterior entre o conceito pessoano de paganismo, que se baseia nos princípios complementares de unidade, objetividade e racionalidade, e sua intuição de que haveria algo para além das aparências. A crise provocada por essa oposição, por sua vez, especialmente a partir do momento em que Pessoa entra em contato com a teosofia, será, mais uma vez paradoxalmente, resolvida por meio da formulação de um Paganismo Superior. Palavras-chave: 35 Sonnets. Fernando Pessoa. Paganismo. Ocultismo. Teosofia.
Abstract: Fernando Pessoa's 35 Sonnets is a work driven by paradox. Written in a period of intense meditation, its poems reflect to a great extent the different metaphysical formulations that animated the poet throughout the 1910s. It is not uncommon that opposite views on reality take place in these formulations. The poet, however, instead of supporting any definite point of view, describes by way of the 35 sonnets a diagram of the act of knowing. By this way, the problems of free-will and of the opposition between essence and appearance are set forth. These problems raise a further opposition between Pessoa's take on paganism, which is based in the complementary principles of unity, objectivity, as well as rationality, and his intuition that there is something beyond what is seen. The crisis brought about by these oppositions, by its turn, especially from the moment when Pessoa gets in full contact with theosophy, will be once more paradoxically worked out by means of his formulation of a Superior Paganism. Key-words: 35 Sonnets. Fernando Pessoa. Paganism. Occultism. Theosophy.
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Bider, Noreen Jane. "The rhetorical strategies of John Donne's "Holy Sonnets" /." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61283.
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This study examines two important influences that shape John Donne's "Holy Sonnets": The Ignatian meditative tradition and the devotional tradition of the psalm genre. It argues that their confluence in his sonnets gives rise to unique rhetorical structures and strategies that reflect the doctrinal uncertainties of his age.
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Hughes, Jeremy Francis. "An examination of the sonnets of E.E. Cummings." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002287.
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This dissertation examines E. E. Cummings's writings in the sonnet genre and in those genres to which the sonnet is related in various ways. Its fundamental point is that, despite the surface impression of poetic iconoclasm for which Cummings has a popular reputation, in choosing to write sonnets he engages in a traditional literary practice. He does this because his purpose is always to be an artist, as defined by the Aesthetic movement which influenced him. In order to argue his embracing of a traditional artistic role, the theory of genres espoused by Alastair Fowler in his book, Kinds of Literature, is used. Chapter 1 of the thesis comprises general introductory material, both to the range of Aesthetic ideas to which Cummings subscribed, and to Fowler's theory of genres. Several key generic kinds are also described. The second chapter makes use of two of these generic models, the sonnet sequence and the silva, as a way of examining Cummings's deployment of the sonnet within the larger context of his poetry collections. It is a survey of the structure of the anthologies he compiled from Tulips & Chimneys (1922) to 95 Poems (1958). The third chapter explores the three sonnet modes which Cummings first identifies and names when compiling the manuscript of Tulips & Chimneys, and continues to use in his collections up to and including is 5 (1926). Chapter 4 shows how certain themes and concerns from these early sonnets are altered and synthesised as Cummings matures from an aesthete to a Romantic poet. Sonnets from his later books are taken to be representative of three central kinds in all of his work after is 5. Chapters 3 and 4 proceed by means of relatively close readings of individual sonnets. This practice fulfils a double role: it penetrates the apparent obscurity of the more difficult poems, and it attempts to preserve the integrity of individual poems which exemplify different generic tendencies in Cummings's work. One of Cummings's reasons for writing sonnets is that the form favours the achievement of what Wordsworth calls "a feeling of intense unity". In undertaking close readings of a few sonnets I have attempted to preserve that feeling.
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Meireles, Rafael Carvalho. "The hermeneutics of symbolical imagery in Shakespeare's sonnets." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/8572.
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A presente dissertação consiste em um estudo das imagens simbólicas dos Sonetos de Shakespeare sob a luz das teorias modernas e contemporâneas do imaginário, mito e símbolo de autores como C.G.Jung, P. Ricoeur e G. Durand. Procura mostrar parte do processo criativo Shakespeareano identificando mitos pessoais, imagens recorrentes, assim como arquétipos e padrões arquetípicos presentes nos sonetos. Divide-se em três capítulos. O primeiro, a Introdução, apresenta Shakespeare como poeta e resume algumas abordagens críticas e os problemas decorrentes que foram debatidos até então. Antecipa ainda, a discussão sobre a importância do imaginário do leitor no processo hermenêutico. O segundo capítulo, O imaginário e o imaginário de Shakespeare, divide-se em duas partes. Na primeira, apresento os campos onde literatura, mito, e símbolo relacionam-se entre si, assim como a teoria da metáfora de P. Ricoeur. A segunda parte consiste em dados gerais do imaginário simbólico dos 154 sonetos, cuja base é uma versão moderna da edição de 1609 (conhecida como The Quarto), com a análise de dois sonetos (28,146) que funciona como modelo para as demais, integrantes do terceiro capítulo. Finalmente, o capítulo 3, A hermenêutica das imagens simbólicas dos sonetos de Shakespeare, traz o estudo propriamente dito, e apresenta as imagens recorrentes, arquétipos, padrões arquetípicos e mitos pessoais encontrados nos sonetos. A conclusão reflete a tentativa de mostrar a importância das imagens simbólicas para os Sonetos, assim como apontar formas através das quais os imaginários de autor e leitor misturam-se, gerando significação.This thesis aims at studying the symbolical imagery of Shakespeare’s Sonnets in the light of modern theories on the imaginary, symbolism, and myth put forward by authors such as C.G. Jung, P. Ricoeur, and G. Durand. It attempts at showing a part of Shakespeare’s creative process by identifying personal myths, recurrent images, as well as archetypes and archetypal patterns inherent in the Sonnets. The work is divided into three chapters. The first chapter presents Shakespeare as a poet and summarizes some critical approaches and consequent problems that have been part of the Sonnets´ critical heritage. It also anticipates the discussion on the importance of the reader’s imaginary in the hermeneutic process. Chapter two is divided in two segments. The first, where I present the grounds on which myth, literature and symbols are related, as well as Ricoeur’s theory of the metaphor; and the second, that consists of general imaginary symbolic data about the 154 sonnets, approached through a modernized version of the 1609 Quarto. In addition, there comes the analysis of sonnets 28 and 146, as models for the others to come in chapter 3. Finally, chapter three The Hermeneutics of Symbolical Imagery in Shakespeare’s Sonnets, displays the study of recurrent images, archetypes, archetypal patterns and personal myths within Shakespeare’s Sonnets. The Conclusion reflects upon the work’s attempt at showing the importance of symbolic images for the study of the sonnets, as well as considers some of the ways through which the imaginary of the writer and that of the reader bind, generating meaning.
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Kellogg, Amanda O. "“True Image Pictur’d”: Metaphor, Epistemology, and Shakespeare’s Sonnets." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500072/.
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In this dissertation, I examine the influence of Pyrrhonist skepticism over Shakespeare’s sonnets. Unlike academic skepticism, which begins from a position of doubt, Pyrrhonist skepticism encourages an embrace of multiple perspectives that, according to Sextus Empiricus, leads first to a suspension of judgment and ultimately to a state of tranquility. The Pyrrhonian inflection of Shakespeare’s sonnets accounts for the pleasure and uncertainty they cultivate in readers. By offering readers multiple perspectives on a given issue, such as love or infidelity, Shakespeare’s sonnets demonstrate the instability of information, suggesting that such instability can be a source for pleasure. One essential tool for the uncertainty in the sonnets, I argue, is the figurative language they draw from a variety of fields and discourses. When these metaphors contradict one another, creating fragmented images in the minds of readers, they generate a unique aesthetic experience, which creates meaning that transcends the significance of any of the individual metaphors. In the first two chapters, I identify important contexts for Shakespeare’s sensitivity to the pliability of figurative language: Reformation-era religious tracts and pamphleteers’ debates about the value and function of the theater. In Chapter 3, I examine Shakespeare’s response to the Petrarchan tradition, arguing that he diverges from the sonneteers, who often use figurative language in an attempt to access and communicate stable truths. Shakespeare creates epistemological instability in sonnets both to the young man and to the dark lady, and, as I argue in Chapter 4, this similarity offers readers an opportunity to think beyond traditional divisions between the two sonnet subsequences.
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Rassokhina, Elena. "Shakespeare's sonnets in Russian : the challenge of translation." Doctoral thesis, Umeå universitet, Institutionen för språkstudier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-134792.
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Shakespeare’s 154 sonnets have become the interest of several generations of Russian translators. Overall, after their first appearance in the middle of the nineteenth century, at least thirty-five Russian translations of the complete sonnet collection have been produced so far, though mostly during the last three decades. The overall objective of the present thesis is to examine the evolution of Russian translations of Shakespeare’s sonnets over the years. The thesis is novel in that it offers an analysis of specific linguistic, literary and cultural challenges the numerous Russian translators have dealt with while translating the sonnets, as well as the strategies adopted in an effort to resolve them. In order to achieve the study objectives, several individual sonnets and a number of their Russian translations have been selected as a sample representing challenging areas that have been more closely investigated in four articles. The method of cross comparison has been applied throughout the study. Both the introductory part and the articles address certain problematic translation issues, such as the sonnets’ formal structure, the pronouns of address, grammatical gender, bawdy language, sexual puns, culture-specific items, and metaphors. The results provide evidence for seeing translation as a multi-layered and ever-changing process, which, apart from the pure linguistic tasks, combines historical, political and ideological aspects. The findings of the study suggest that translation competence, namely deep understanding of the context and its fundamental cultural and social features, motivates the translator’s interpretation of the contradictions and uncertainties of Shakespeare’s poems. Those include the sonnets genre, relation to Shakespeare’s biography, the order of the poems in the first 1609 Quarto. The analysis also identifies the ways in which the target language’s social and historical context have had an impact on the choices made by the translators. On the whole, the study’s results do not contradict Mikhail Gasparov’s model describing the pendulum-like movement from “free” to “literal” approaches through the history of Russian literary translation.
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Cho, Soon Y. "The Interaction Between Poetic and Musical Caesurae in Six Settings of Elizabeth Barrett Browning's Sonnet XLIII." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1299168299.
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Rehn, Johanna. "Metaphors of Time : Mortality and Transience in Shakespeare's Sonnets." Thesis, Södertörn University College, School of Culture and Communication, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-2724.
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This essay is about metaphors of time, mortality and transience in William Shakespeare’ssonnets. Exploring these metaphors, I examine sonnets nr. 60, 64 and 65 more closely, since Ithink they are particularly representative as regards the metaphors of time. Unlike the rest ofthe sonnets, these three deal with the subject throughout the sonnets, focusing on theinevitable degeneration of material things. The image of time in the sonnets is depicted in avaried way constructed by several metaphors that add to the depth and paint imagesinfluenced by the beliefs and knowledge of Shakespeare’s time. I put these images in relationto the English Renaissance and its concepts of time using sources from, for example, JohnSpencer Hill, Katherine Duncan-Jones and Dympna Callaghan, who all have made their ownanalyses of Shakespeare’s sonnets. In my close reading of the sonnets I analyse the variousmetaphors Shakespeare uses to make us experience the passage of time as in, for example,sonnet number 60, where the ongoing passage of time is described in a cyclical way by theuse of the metaphor of the waves rolling in and out of a pebbled shore. In a repetitive way thewaves are in constant motion. We can recognise ourselves as being the pebbles, affected bythe constant motion in our lives, slowly turning into sand by time’s cruel hand.
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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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Vashkevich, Nadezda. "Le sonnet contemporain en Russie et en France." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030080.
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La présente recherche est consacrée au sonnet contemporain en Russie et en France. Elle évoque l’évolution du sonnet dans les deux pays et analyse en détail les œuvres de cinq poètes français et cinq poètes russes. Louis Aragon, Robert Desnos, Yves Bonnefoy, Jacques Roubaud, Laurent Fourcaut sont présentés à côtés de Yuri Veynert et Yakov Kharon, Iossif Brodsky, Victor Sosnora, Alexeï Tsvetkov, Timour Kibirov. La période étudiée s’étend des années 40 du XXe jusqu’à la première décennie du XXIe siècle. Les composants structurels du sonnet en tant que forme fixe et ses aspects génériques sont mis en examen afin de révéler les niveaux possibles de lecture et les liens des sonnets contemporains avec la tradition sonnettiste. L’étude met en relief quatre grands thèmes du sonnet : l’amour, la politique, la mort et le jeuThe present research is dedicated to the contemporary sonnet in Russia and in France. It traces the evolution of the sonnet in both countries and focuses on works of five French and five Russian poets. Louis Aragon, Robert Desnos, Yves Bonnefoy, Jacques Roubaud, Laurent Fourcaut are juxtaposed to Yuri Veynert and Yakov Kharon, Joseph Brodsky, Victor Sosnora, Alexei Tsvetkov, Timur Kibirov. The period under study goes from 1940s to now. The thesis deals with structural components of the sonnet as a poetic form and a genre in order to reveal the possible levels of reading and to establish relationship between the contemporary works and the sonnet tradition. The study highlights four major themes that are love, politics, death and game
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Van, Hooser David. "Opening Day." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9018/.
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Although I've read and written poetry for my own pleasure for about twenty years now, I've only seriously studied and written poetry on a consistent basis for the past two years. In this sense, I still consider myself a beginning poet. When attempting to pursue an art form as refined and historically informed as poetry, only after spending a number of years reading and writing intensively would I no longer consider myself a beginner, but a practitioner of the art. I've grounded my early development as a poet in concision, voice, and imagination, and hope to build upon these ideas with other poetic techniques, theories, and forms as I go forward. I am particularly interested in mastering the sonnet form, a concise and imaginative form that will allow me to further develop my skills. Hopefully, the works in this thesis reflect that effort.
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Meyenberg, Roger. "Capel Lofft and the English sonnet tradition 1770-1815 /." Tübingen : Francke Verlag, 2005. http://catalogue.bnf.fr/ark:/12148/cb41113174j.
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Stroeher, Vicki Pierce. "Form and Meaning in Benjamin Britten's Sonnet Cycles." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935804/.
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This study examines the relationship between sonnet form and musical form in Benjamin Britten's sonnet cycles with a view toward identifying the musico-poetic form how the musical form interprets the poetry. Several issues come to the fore: 1) articulation of the large-scale divisions of the poetic form in the music; 2) potential of the musical setting to make connections between lines of the text ; 3) potential of the musical setting to follow or imitate the thought processes of the poem; and 4) placement of the departure and return.
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Morin-Parsons, Kel. ""Loose my speche": Anne Locke's sonnets and the matrilineal Protestant poetic." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ66176.pdf.
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Williams, Rhian Eleri. "'A second flowering after date' : Shakespeare's sonnets and Victorian lyrical aestheticism." Thesis, University of Birmingham, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433687.
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This study considers intertextuality in poetic terms, and uses Victorian reception of Shakespeare'sS onnetsa s its critical focus. Examination of nineteenth-century commentators' attempts to assimilate the Sonnetss' candalous content with Shakespeare's otherwise venerated reputation allows the author to contemplate Victorian cultural poetics as they emerge from reflections on the inheritance of literary traditions. This broad `intertextual' engagement forms a working context for evaluation of a collection of lyrically creative responsest o the SonnetsT. ennyson's In Memoriam;H opkins"To Oxford'; Wilde's Poemsa; nd Michael Field's Underneatthh e Bough are considered. Across these engagements, the significance of historical positioning - the Sonnetsa re specifically located `in the past' for these poems - is vital to the poems' intertextual dynamics. The dissolution produced by intertextual implications of plurality is rehabilitated by the action of remembrance - which produces memory and nostalgia - to facilitate articulation that is contingent on the notion of shared-speaking. The intertextual models revealed engage with late-century aesthetic historicism, focussed in their authors' various responses to Pater's writings. These poets, then, allude to the Sonnets scandalous content in a context that emphasises aesthetic purity and abstraction. This allows that intertextual engagements become a means of expressing elusive sensual and emotional bonds in literary terms.
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Pallotti, Donatella. "'Of stuffe and forme perplext' : the interactive language of Donne's Holy sonnets." Thesis, Lancaster University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287115.
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Parker, Tom W. N. "Loving in truth : proportional form in the sonnets of the Sidney circle." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307356.
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Pacheco, Heliana Soneghet. "Typography in traditional poetry : methods of segmentation in narrative poems and sonnets." Thesis, University of Reading, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501348.
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The aim of this research is to investigate and analyse how narrative poems and sonnets, two types of traditional poetry, have been handled in books, in England, in terms of typographic presentation. It focuses on how far the earliest printed editions of a poem establish a pattern for its subsequent presentation, and how far other influences might determine the typographic form. The main focus of the analysis is segmentation, the visible division of the text into units which, to a greater or lesser extent, reflect its underlying structure. This division is seen through methods of segmentation in the opening and closing of the poem and, within the poem itself, through typographic features such as indentation, capitalization, line spaces and the placing of each poetic line on a new typographic line. These methods are related to the poetic whole, stanzas. rhyme scheme units, verse paragraphs and line.
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Bell, Gregory Stuart. "John Donne: Love and Voices in the Elegies and Songs and Sonnets." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15326.
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This thesis argues that Donne's Elegies and Songs and Sonnets found a readership trained to appreciate his words. It draws on the work of Wolfgang Iser. Iser particularly looks at the importance of a text providing a space in which the reader can imagine possibilities that extend his or her world. It is through voices that Donne connects with his readers, and creates worlds and spaces that they can explore. As his poetic control matures, Donne increasingly lives inside the poetic worlds he creates. At first, in the Elegies, his speaker is the societal observer and participant. Through this speaker, Donne will increasingly seek to educate his readers, and have them imagine new ways to approach life and love. In the Elegies, women will be the touchstone against which men measure their worth. In the Songs and Sonnets the speaker develops to be Donne himself, and the measure of worth will change to be the prospect of an androgynous, balanced, constant love. Donne explores the nature of what such a reciprocal love might look like, pushes rhetoric almost to breaking point, and seeks poetic solutions to the questions a challenging world poses. It is Donne's developing awareness of the power of voice that allows him to structure his world, finally face the agonizing loss of Anne, and contemplate a life with God. An awareness of biographical context will at times help to more fully understand his poetry. And it is voices, both real and imagined, that offer the reader the chance to participate in making meaning in that poetry.
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Fortier, John R. 1950. "Milton's rite of passage: The function of form in the Italian sonnets." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/282166.
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John Milton's Italian sonnets are more significant than they are generally thought to be. In spite of attempts to revive interest in them, they are among the poet's least valued works. In this dissertation, I demonstrate that the practices of publishing the sonnets out of their original order and including English translations along side of the original Italian alter readings of the sonnets by altering their context. These practices are largely responsible for the sonnets' poor reception. In addition to being altered by editorial practices and translations, the context in which the sonnets are received has been altered by changing views about Milton's biography. The present study, therefore, also involves an examination of the way biographical studies can affect interpretation. Reading the poems in their original order and considering their arrangement as purposeful and artistic expands the possibilities for interpretation. My particular reading of the sonnet sequence reveals Milton's self-conscious, retrospective portrayal of a rite of passage in which he prepares to assume a mature and public role. The sonnets show that new understandings of religious and secular love motivate the poet to represent his views in a public form. In his presentation and arrangement of Sonnets 1-7, the poet translates personal conflict into social and political action, and he uses the interplay of tbe English and Italian languages and traditions to dramatize his relationship and responsibility to his native land and the world at large.
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Azevedo, Flávia. "The problem of codifying linguistic knowledge in two translations of Shakespeare's sonnets." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/100714.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2012Made available in DSpace on 2013-06-25T21:54:32Z (GMT). No. of bitstreams: 1 314502.pdf: 971148 bytes, checksum: 0244fa8f1177a38d0e9865a3d77e1e13 (MD5)
Abstract : The present study deals with the problem of codifying linguistic knowledge in a parallel corpus, in other words, the process of corpus annotation. The purpose of the present study was to test the identification of four types of translational correspondence, as defined by Thunes (2011) in a parallel corpus made up of 45 Shakespeare's Sonnets and two distinct translations into Brazilian Portuguese. The obtained results show that Thunes' model can be considered effective when applied to classify alignment units in a parallel corpus of translated poetry, but it needs some adjustments in order to cope with some translational pairs which did not fit properly into any of the four categories. The advantage of Thunes' proposal is that it establishes criteria to analyse complexity involved in the translation process in a very clear way.
Este estudo aborda o problema de codificação do conhecimento linguístico em um corpus paralelo, em outras palavras, o processo de anotação de corpus. O objetivo deste estudo foi testar a identificação dos quatro tipos de correspondência tradutória descritos por Thunes (2011) em um corpus paralelo constituído por 45 sonetos de Shakespeare e duas traduções distintas em Português. Os resultados obtidos mostram que o modelo de Thunes pode ser considerado eficaz quando utilizado para classificar unidades de alinhamento em um corpus paralelo de poesia traduzida, mas precisa de algumas adaptações, a fim de lidar com alguns pares tradutórios que não se ajustaram adequadamente em nenhuma das quatro categorias propostas. O modelo proposto por Thunes pode ser considerado vantajoso por estabelecer critérios para analisar a complexidade envolvida no processo de tradução de uma forma muito clara.
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Fernós, Patricia Roane Riddick. "A study of the love sonnets of Sor Juana Inés de la Cruz /." Digital version, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008322.
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Zoppas, Patrizia <1961>. "THE HARMONY OF THE WORLD IN WILLIAM SHAKESPEARE'S AND SIR JOHN DAVIES' SONNETS." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3135.
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Il tema dell'armonia riguarda l'interrelazione dell'uomo con il mondo circostante. Questo ha portato alla riscoperta degli studi classici e del loro fiorire nell'Età del Rinascimento dando vita a varie rappresentazioni dell'idea di armonia, come la disposizione matematicamente perfetta ed armoniosa dei pianeti nell'universo, l'immagine musicale della lira suonata appropriatamente, così come, con particolare riguardo all'Inghilterra, la Catena dell'Essere Elisabettiana, un concetto ispirato dal "Timeo" di Platone concernente l'ordine cosmico iniziando da Dio ed estendendosi a tutti i livelli dell'Universo mediante l'Uomo Governante fino agli animali, le piante e le pietre. L'armonia era ciò a cui Elisabetta I, la protagonista dell'epoca del Rinascimento in Inghilterra, mirava, anche come monarca che si relazionava con il suo popolo, come dimostravano i suoi viaggi. Il propagarsi delle scoperte e degli studi geografici e scientifici, assieme alle opere letterarie ed artistiche, fece conoscere la sua epoca come la "Golden Age" le cui teorie sull'armonia vennero assorbite nei Sonetti di W. Shakespeare e di Sir John Davies, sebbene, allo stesso tempo, in quest'ultimo, un certo grado di mutabilità rifletta la percezione di un mondo meno perfetto.
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Martín, Adrienne Laskier. "Cervantes and the burlesque sonnet." Berkeley [etc.] : University of California press, 1991. http://ark.cdlib.org/ark:/13030/ft4870069m.
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Th. : Harvard University.Contient aussi un choix de poèmes en italien et en espagnol avec la trad. en anglais. Titre provenant de l'écran-titre. Ouvrage mis en ligne par eScholarship. Bibliogr.. Index.
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Bernstein, Amy Daunis. "Jacques de Billy de Prunay : the sonnets spirituels : an edition with introduction and commentary." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410906.
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LEITE, CARLOS PITTELLA. "LITTLE INFINITES IN PESSOA: A PHILOLOGICAL-LITERARY ADVENTURE THROUGH THE SONNETS OF FERNANDO PESSOA." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30086@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Esta tese empreende uma leitura global dos sonetos de Fernando Pessoa e seus heterônimos, incluindo a fixação e o estudo de cerca de trezentos poemas escritos em Português, Inglês ou Francês. A dimensão do corpus não representa a totalidade dos sonetos pessoanos encontrados ao longo da pesquisa; embora se estudem alguns poemas inéditos, são postos de lado mais de cinqüenta sonetos inéditos em Inglês, cujo testemunho permanece por fixar. O trabalho propõe-se a estudar Pessoa como um dos grandes sonetistas da Literatura Portuguesa, alçando-o ao estatuto de Camões, Bocage e Antero, no que tange ao cultivo do soneto como elo entre tradição e ruptura. A leitura dos poemas desenvolve-se em três estágios, que correspondem às três partes da tese: investigação, edição e estudo. Na investigação, em que se esmiúça a metodologia, discutem-se os desafios filológicos e editoriais de lidar com os sonetos de Pessoa: onde encontrá-los, como lê-los e datá-los, a que heterônimos atribuí-los, que textos incluir dentro da definição de soneto... A segunda parte contém o texto fixado dos sonetos, com notas indicando nossas divergências de leitura em relação a edições de referência tais como as da Imprensa Nacional Casa da Moeda. O texto dos poemas conta com um aparato sincrônico de ícones em marginália, permitindo a leitura em diversas seqüências temáticas, para além da ordem cronológica. Por fim, a terceira parte expõe as conclusões da investigação, sob a forma de leituras temáticas agrupadas em temas-em-si, temas de linguagem e temas filosóficos, respectivamente tratando dos motivos constantes, os mecanismos poéticos e as vias de conhecimento recorrentes nos sonetos de Pessoa.
This work endeavors to realize an encompassing reading of the sonnets of Fernando Pessoa and his heteronyms, including the text-fixation and study of nearly three hundred poems written in Portuguese, English or French. This magnitude of corpus does not represent the entirety of the sonnets found during the research; although some unpublished poems are studied, more than fifty inedited English poems are put aside, with manuscripts still to be read and fixated. This work ventures to study Pessoa as one of the great sonnetists in Portuguese Literature, raising him to the stature of Camões, Bocage and Antero, when regarding his cultivation of the sonnet between tradition and aesthetic rupture. The reading of the poems is developed in three stages, corresponding to the three parts of the thesis: investigation, edition, study. The investigation, in which the methodology is detailed, discusses the philological and editorial challenges of dealing with the sonnets of Pessoa: where to find them, how to read and date them, which heteronyms to assign to them and which texts to include inside the definition of sonnet… The second part contains the sonnets themselves, with notes indicating our textual divergences from critical editions such as the ones by the Imprensa Nacional Casa da Moeda. The poems are accompanied by a synchronic apparatus of marginal icons, inviting the reading in diverse thematic sequences, beyond the chronological order. Lastly, part three weaves the conclusions of the investigation, as a series of thematic essays grouped in basic themes, language themes and philosophical themes, respectively approaching the elemental motifs, the poetic mechanisms and the paths to knowledge explored by Pessoa s sonnets.
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Gilbert, Brian J. "Fettering Ignatius to verse Donne's reckoning with the Spiritual exercises through his Holy sonnets /." College Park, Md. : University of Maryland, 2008. http://hdl.handle.net/1903/8190.
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Thesis (M.A.) -- University of Maryland, College Park, 2008.Thesis research directed by: Dept. of English. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Xue, Shuwei [Verfasser]. "Reading and Rereading Shakespeare’s Sonnets: Combining Quantitative Narrative Analysis and Predictive Modeling / Shuwei Xue." Berlin : Freie Universität Berlin, 2020. http://d-nb.info/1217251294/34.
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Van, Boven Alexandra. "Sonnets from the Self-Reflective: Agency and Power in Austen, Bronte, and Barrett Browning." Thesis, The University of Arizona, 2011. http://hdl.handle.net/10150/145089.
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