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Hsu, James Stephen. "Orpheus' Lyre : a study of symbolist and post-symbolist music and poetry /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488195633517853.
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Romer, S. C. M. "T.S. Eliot : post-symbolist." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.355282.
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Tidwell, Christopher A. ""Mingling Incantations": Hart Crane's Neo-Symbolist Poetics." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001490.
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Pietrykowski, William. "From Poe to Rimbaud a comparative view of Symbolist poetry /." Connect to resource, 2009. http://hdl.handle.net/1811/37218.
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Frendo, Maria. "T.S. Eliot and the music of poetry." Thesis, Durham University, 1999. http://etheses.dur.ac.uk/4565/.
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This thesis is a study of T.S. Eliot's poetry in the light of the different ways in which it can be considered 'musical'. Two concerns central to the thesis are: (1) Eliot's enduring interest in the musical quality of poetry; (2) the critical usefulness and viability of drawing analogies between his poetry and music. The thesis considers three important related topics: (1) Eliot's preoccupation with language, its inevitability and its inadequacy; (2) the figure of the seeker in his poetry; (3) his interest in mysticism. The thesis begins by exploring affinities between music and literature in the context of Wagner’s ideal of the 'Gesamtkunstwerk' and its influence on French Symbolist writers. It goes on to trace the development of T.S. Eliot's poetic style as influenced by the French Symbolist poets, by Dante and the mediaeval mystics, and by the music of Wagner, Stravinsky and other composers. Throughout, Eliot's poetry presents variations on the theme of detachment and involvement in relation to the figure of the seeker: consciousness is most engaged and challenged when it journeys. In the early poetry, music serves to emphasize failed relationships: the closer the physical proximity between protagonists, the greater the psychological distance. From The Waste Land on, Eliot makes use of myth and leitmotif to portray consciousness in the role of seeker urged on by the need for meaning. After his conversion to Anglo-Catholicism in 1927, Eliot's characters embark on a journey inward, where music, now "unheard", no longer signifies neurosis and despair, but becomes the only language for the ineffable.
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Grigorian, Natasha. "The use of myth in European Symbolism, with reference to selected examples of Symbolist poetry and painting in France, Germany and Russia." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.424886.
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Culpepper, Abigail. "Towards an Ethic of the Lyric: Taking on the Other in “La Mort de Cleopatre” by Marie Krysinska." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564684012184959.
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Kostetskaya, Anastasia G. "The Water of Life and the Life of Water: the Metaphor of World Liquescence in Russian Symbolist Poetry, Art and Film." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1367511847.
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Xiang, Zheng. "La poésie française moderne (Baudelaire, Rimbaud, Lautréamont) et son influence sur la nouvelle poésie chinoise dans les années 1920-1930." Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2012. http://tel.archives-ouvertes.fr/tel-00713100.
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Ce travail de recherche porte sur la poésie française moderne et son influence sur la nouvelle poésie chinoise au cours de la première vague d'introduction et d'interprétation des littératures occidentales en Chine dans les années 1920-1930. Nous cherchons à montrer comment les " Trois Grâces " de la poésie française moderne : Baudelaire, Rimbaud et Lautréamont ont été introduits en Chine et quelle est leur influence sur l'élaboration de la nouvelle poésie chinoise. Ainsi, nous montrons d'abord comment expriment Baudelaire, Rimbaud et Lautréamont par leur poésie le culte du moi, le culte du Beau et le jeu de dépersonnalisation et de pluralisation du moi. Nous examinons ensuite l'influence des littératures occidentales sur la construction de la nouvelle littérature chinoise dans les années 1920 ; et l'introduction et l'interprétation de la poésie symboliste française et son influence au niveau théorique aussi bien que pratique sur la nouvelle poésie chinoise et les poètes dits symbolistes chinois : Li Jinfa, Mu Mutian, Wang Duqing, Dai Wangshu. Enfin, nous montrons le cas Lautréamont en Chine, son absence dans les années 1920-1930 et l'état de la recherche lautréamontienne en Chine dans les trois dernières décennies. Notre thèse conduit donc à montrer que les " Trois Grâces " de la Poésie nouvelle ne jouissent pas tous du même prestige auprès du monde poétique chinois dans les années 1920-1930 et que son interprétation de la poésie française moderne n'est pas une adoption de toute une attitude de création poétique de celle-ci, mais une transformation du dynamisme poétique imposé de l'extérieur en dynamisme créateur interne de la poésie chinoise. Elle correspond aux intentions claires et guidées par le système de valeurs littéraires et morales des traducteurs-interprétateurs chinois des différentes époques.
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Falguera, García Enric. "L'obra de Jaume Agelet i Garriga. Estudi i edició." Doctoral thesis, Universitat de Lleida, 2013. http://hdl.handle.net/10803/131996.
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El present treball és un estudi de la vida i l'obra del poeta lleidatà Jaume Agelet i Garriga. Una vida, lluny de Catalunya, que cal reseguir a través de la correspondència amb algunes de les principals personalitats del país, com ara Tomàs Garcés, Pau Casals, o Marià Manent. La seva poesia, d'herència romàntica, és una cruïlla de camins d'influències simbolistes, postsimbolistes i surrealistes, que té en el món infantil el pilar bàsic. A partir de l'enyorat món de la infantesa el poeta construeix una obra solida que té en el símbol i la imatge els seus recursos principals.
Al costat de l'estudi de la poesia, el treball vol oferir una edició crítica de tots els poemaris ageletians a partir de les primeres edicions i anotant en aparat l'evolució del text per constatar el procés constant de revisió que Agelet sotmet a la seva obra i l'extraordinari grau de fidelitat a uns mateixos principis poètics.El presente trabajo es un estudio de la vida y la obra del poeta leridano Jaume Agelet i Garriga. Una vida, lejos de Cataluña, que hay que reseguir a través de la correspondencia con algunas de las principales personalidades del país, como Tomás Garcés, Pau Casals, o Marià Manent. Su poesía, de herencia romántica, es un cruce de caminos de influencias simbolistas, postsimbolistas y surrealistas, que tiene en el mundo infantil el pilar básico. A partir del añorado mundo de la infancia el poeta construye una obra sólida que tiene en el símbolo y la imagen sus recursos principales. Junto al estudio de la poesía, el trabajo quiere ofrecer una edición crítica de todos los poemarios ageletianos a partir de las primeras ediciones y anotando en aparato la evolución del texto para constatar el proceso constante de revisión que Agelet somete a su obra y el extraordinario grado de fidelidad a unos mismos principios poéticos.
The present work is a study of the life and work of poet Jaume Agelet i Garriga. A life away from Catalonia, which can be followed through his correspondence with some of the leading national personalities such as Tomàs Garcés, Pau Casals, and Marià Manent. His poetry, of romantic inheritance, is a crossroads of symbolist, post-symbolist and surrealist influences. His poetry is built from children's world, symbols and imagery. Apart from the study of poetry, the work aims to provide a critical edition of all poems by Agelet.
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Michaux, Charlotte. "La fée dans le symbolisme européen, domaines francophone et anglophone : identité nationale, mémoire littéraire et questionnements poétiques." Paris 3, 2008. http://www.theses.fr/2008PA030067.
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Notre étude met en regard les symbolismes francophones et anglophones européens à travers la figure de la fée. Passage obligé pour une majorité de petits et de grands poètes de la jeune génération symboliste, l’oeuvre à thème féerique manifeste des préoccupations communes à chacun d’entre eux : donner forme à une mémoire archaïque du merveilleux, construire une image idéalisée de la nation, revisiter par la fable l’expérience du ravissement poétique, interroger la légitimité de l’image et éprouver les possibilités de la voix poétique. Loin de se réduire à un symbole d’escapisme, le motif de la fée thématise espoirs, questionnements et failles du geste poétique symboliste. On voit comment, grâce à un topos merveilleux, un mouvement fragile et dispersé parvient à ouvrir dans l’espace du poème un lieu de dialogue national et transnational entre ses différents acteurs, et, plus encore, à s’inventer une identité et une histoire collectives qui vient compenser l’histoire officielle du mouvementOur study takes a look at the symbolism in French and English literature, represented by the personage of the fairy. Writings with a mythical theme were an obligatory rite of passage for the majority of poets, big and small, in the young generation of the Symbolist movement. Their works share common concerns; the desire to create an archaic memory of the fabulous, to construct an ideal image of the nation, to revisit poetic rapture through storytelling, to question the legitimacy of the image and to test the possibilities of the poetic voice. Far from being reduced to a symbol of escapism, the motif of the fairy represents hope, questioning and flaws in the Symbolist movement. We can see how, thanks to an enchanted topos, a fragile and dispersed movement succeeded in opening up the literary tool of the poem to a national and transnational dialogue between its different actors, and moreover creating for itself an identity and a collective history which compensates for the official history of the movement. Is
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Vilain, Robert. "The poetry of Hugo von Hofmannsthal and French symbolism /." Oxford : Clarendon press, 2000. http://catalogue.bnf.fr/ark:/12148/cb38906418n.
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Gas, Marta. "Sodalizio e congedo : Mario Luzi e il simbolismo." Thesis, Université de Lorraine, 2017. http://www.theses.fr/2017LORR0298/document.
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Ma recherche porte sur l’héritage symboliste dans la poésie de Mario Luzi (1914 – 2005). Dans le premier chapitre, j’ai décrit l’« attirail » symboliste en repérant les caractéristiques thématiques et stylistiques qui révèlent une perception partagée de la poésie.Dans le deuxième chapitre, j’ai focalisé l’analyse sur la permanence des thèmes et des figures de style symboliste dans le cadre du recueil luzien Frasi e incisi di un canto salutare (1990).J’ai développé ma recherche en suivant le plan du premier chapitre :1) L’imaginaire :- Le poète ou l’« histrion spirituel ».- Le balbutiement poétique ou l’idée d’une création poétique fragmentaire.- Les correspondances.2) Le regard : la vision du poète est soulignée par le choix des couleurs et par l’élaboration d’une certaine perspective.3) La voix : la syntaxe et la ponctuation révèlent une conception poétique particulière. Luzi redécouvre l’oralité d’inspiration symboliste. Le rapport entre Luzi et le symbolisme se distingue en deux moments. Le premier, qui est d’ordre ontologique, se réalise à l’époque hermétique de Avvento Notturno (1940); le deuxième, de nature plutôt linguistique et rythmique, se rapporte aux recueils Al fuoco della controversia (1978), Per il battesimo dei nostri frammenti (1985) et Frasi e incisi di un canto salutare (1990).C’est en relation à ce deuxième moment qu’il est intéressant d’évaluer la persistance des caractéristiques symbolistes et la manière dont Luzi les a organisées et systématisées au sein de son parcours poétique. Ces caractéristiques constituent des réactifs qui nous permettent de comprendre l’importance de la poésie symboliste sur le plan de l’élaboration poétique luzienneMario Luzi, after a poetic history that crosses all the Nineteenth Century, has really understood what Symbolism means. It is required to distinguish between two steps in the Symbolist influence on Mario Luzi’s poetry: the first step is ontological, and it takes place in Avvento Notturno (1940). The second period is marked by linguistic and rhythmic features, and it is related with the collections Al fuoco della controversia (1978), Per il battesimo dei nostri frammenti (1985), Frasi e incisi di un canto salutare (1990). In my research I examined this latest work, in order to enlighten the continuities between Symbolism and Mario Luzi’s poetry, that is marked by two fundamental characteristics: from one side Luzi realizes a long itinerary in exploring new solutions, but on the other side we can observe the resurgence – also if fickle and transformed – of features and stylistic motifs.In this overview, the French Symbolism is an essential starting point: indeed, Symbolist poets are the underground or outward source, depending on the creative periods; Symbolist features accompany the author throughout all his production.Moreover, in 1990, with Frasi e incisi di un canto salutare, the distance occurred between the first readings of these poets makes come to lights the permanence, the life span features inherited from the Symbolist poets and entered in Luzi’s poetry as raw materials, even if deeply transformed.From the texts emerges a constant reference to the idea, to the Symbolist way: in the Luzi’s Nineties poetry it becomes a substantial, settled Symbolism, that is visible in the structure and in the poetic trend, other than in the permanence of topics and stylistic motifs
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Taylor, Bruce. "All natural shapes : symbolism in the poetry of Theodore Roethke." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65327.
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Lewis, Lynnell K. "The poetry of symbolism and the music of Gabriel Fauré." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/836.
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Jacquemard-Truc, Adélaïde. ""Le spectacle du poème" : le théâtre fait poésie dans le drame symboliste de Auguste de Villiers de l’Isle-Adam, Maurice Maeterlinck, Paul Claudel et Oscar Wilde." Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST0016.
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Le théâtre des symbolistes est souvent considéré comme une tentative dramatique ayant échoué dans la vocation première du genre : la rencontre d’un texte et de la scène. Pourtant, les symbolistes ont mené une importante réflexion sur l’art de la scène, dans laquelle la poésie occupe une place centrale. La poésie doit permettre de refonder un art qui apparaît en crise. Ce parti-pris est perçu comme le socle théorique d’un théâtre à lire, entraînant le renoncement à la scène. C’est dans cette articulation que se loge notre démonstration : nous montrons que cette poésie au théâtre n’est pas incompatible avec les exigences de la scène. Les auteurs étudiés développent en effet une réflexion sur la possibilité d’un théâtre à lire. Mais cette théorie n’est pas une façon de renier la scène : le livre et la scène sont des objectifs poursuivis parallèlement dans leur dramaturgie. Dans cette nouvelle optique, il existe deux types de représentations du texte théâtral : celle de la scène, qui se réalise sur les planches, et celle de la lecture, parce que le lecteur se représente le texte qu’il lit. Apparaît alors une « scène intérieure », tout aussi valable, tout aussi théâtrale que le plateau. Cette thèse prend comme point d’appui des critères stylistiques, dramaturgiques et scéniques pour fonder le rapprochement entre poésie et théâtre. Il s’agit de mettre en perspective ces catégories en fonction de l’esthétique symboliste. En effet, cette dynamique prend naissance en réponse à une crise dramatique propre au dix-neuvième siècle, qui s’interroge sur les rapports entre scène et texteSymbolist theatre is often considered as an unsuccessful attempt to drama that failed in the main purpose of the genre: the encounter of text and stage. The symbolists, though, carried an important reflexion on the art of stage, in which poetry is playing a central role. Poetry is thought to allow a new foundation of an art in crisis. This postulation was considered as the theoretical ground of an “armchair theatre”, resulting in a renunciation of stage. Our reflexion discusses this assumption: we demonstrate that poetry in drama is not incompatible with the stage’s obligations. The dramatists studied in this work develop indeed a reflexion on the possibility of an “armchair theatre”. But this theory is no denial of the stage: the reading and the staging are equally pursued by their dramaturgy. In this new conception of theatre, drama can be represented in two different ways: on the stage or in the reader’s mind, because the reader’s represents himself the text he reads. An “inner stage” emerges then, that the symbolists considered of equal dramatic worth as the boards. Our study leans on stylistic, dramaturgic and scenic criterions in order to establish the connection between poetry and theatre. Those categories shall be understood according to the symbolist aesthetics. This new dramaturgy arises as a response to a dramatic crisis characterising the XIX century: dramatists through out the century question the relation between stage and text
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Jones, Anthony. "Ritual Awareness, Symbolism and Creativity in Shi Jing Poetics." University of Sydney, 2006. http://hdl.handle.net/2123/1527.
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Master of ArtsFor more than two thousand years, the collection of poetry simply referred to as the Shi Jing, (“The Classic of Poetry”, “Book of Odes” or “Book of Songs”), has shaped the Chinese literary landscape. The classic is one of the central influences on the development of later Chinese poetry, and can appropriately be considered a major contributor to the habits of expression, imagery and structure which remained dominant until the nineteenth century.
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Vilain, Robert Leon. "The poetry of Hugo von Hofmannsthal and French symbolism : tradition and inhibition." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320987.
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Drew, Rodger. "Symbolism and sources in the painting and poetry of Dante Gabriel Rossetti." Thesis, University of Glasgow, 1996. http://theses.gla.ac.uk/3426/.
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The Thesis examines the symbolism, and the sources of that symbolism, in the poetry and painting of Dante Gabriel Rossetti. Chapter 1 considers the significance of the title of Rossetti's sonnet-sequence The House of Life. Chapter 2 looks at the opening sonnets of that sequence. Chapter 3 scrutinises the sonnet quartet of the Willow-wood sequence. Chapter 4 evaluates the influence of Platonism and Neoplatonism in Rossetti's art. Chapter 5 is concerned with Rossetti's use of allegory. Chapter 6 surveys the influence of Rosicrucianism on Rossetti and his immediate circle of the pre-Raphaelite Brotherhood, and on the Aesthetic School that succeeded it. This chapter closely examines the symbolic motifs of Rosicrucianism, and how these may be traced in the paintings of these artists. Chapter 7 explores the Rosicrucian influence in Rossetti's poetry. Chapter 8 further traces these influences in Rossetti's painting. Chapter 9 investigates the Goddess figure within Rossetti's later paintings.
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Lohöfer, Astrid. "Ehics and Lyric Poetry : Language as World-Disclosure in French Symbolism and Canadian Modernism." Thesis, Montpellier 3, 2013. http://www.theses.fr/2013MON30082.
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S’inscrivant dans le tournant éthique survenu il y a peu en théorie littéraire, cette étude analyse la relation entre éthique et poésie moderne, avançant que les implications éthiques de ces textes ne sont pas seulement enrichies par, mais aussiindissociables de l’emploi créatif et non-conventionnel de la langue rencontré dans ce courant. La majorité des articles consacrés à la critique éthique se concentrent sur la transmission explicite de valeurs morales par le biais de romansou de nouvelles – sans tenir compte de la complexité linguistique renfermée par l’énoncé lyrique – ou assimilent l’éthique de la littérature, de façon très généralisée, à des phénomènes purement esthétiques à l’instar de l’expérience textuelleémanant de l’altérité ou de l’indécidabilité – et contournent de ce fait les préoccupations éthiques concrètes de chacun des textes. Dans le but d’atteindre une compréhension plus nuancée de la relation entre éthique et poésie (moderne), je propose d’envisager la parole lyrique comme un lieu de révélation du monde ouvrant de nouvelles perspectives sur les questions éthiques qui restent voilées ou dissimulées dans le discours ordinaire. Cette idée a été développée par MartinHeidegger et Paul Ricoeur, qui, dans leurs écrits sur l’art et la littérature, se penchent sur la manière dont les textes poétiques rompent avec les contraintes du discours institutionnel et rendent au langage son pouvoir expressif originel. [etc.]Situated in the context of the recent ethical turn in literary theory, this study examines the relationship between ethics and modernist poetry, arguing that the ethical implications of these texts are not only enriched by, but also inseparable from, the creative, unconventional use of language typical of this genre. The majority of studies in the field of ethical criticism either focus on the explicit transmission of moral values in novels and short stories, while ignoring the linguistic complexity at the heart of lyric utterance, or equate the ethics of literature, in a very generalized way, with purely aesthetic phenomena such asthe textual experience of alterity or undecidability, thereby bypassing the concrete ethical concerns of individual texts. In order to attain a more nuanced comprehension of the relationship between ethics and (modernist) poetry, I propose to view lyric language as a site of world-disclosure opening up new perspectives on ethical issues that remain veiled or hidden in ordinary speech. This idea has been elaborated by Martin Heidegger and Paul Ricoeur, whose writings on art and literature engage with the ways in which poetic texts break the constraints of institutionalized discourse and return language to its original, expressive power. [etc.]
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Sobolev, Olga. "Unity and diversity in the early harlequin poetry of Blok and Belyi." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340799.
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Colombani, Greta [Verfasser]. "A gordian shape of dazzling hue : Serpent Symbolism in Keats’s Poetry / Greta Colombani." Göttingen : V&R Unipress, 2017. http://www.v-r.de/.
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Oldert, David. "Ideas of poetic form: aspects of the Romantic-Symbolist tradition." Thesis, Rhodes University, 2016. http://hdl.handle.net/10962/54554.
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The subject of the work is some of the formal and technical developments of modern poetry in the Romantic-Symbolist tradition. These developments were stimulated partly by the ideas of the non-intellectual Symbol inherited from the Romantics and the idea that poetry could be a musical medium inherited from some of the French Symbolists. Their combined influence led to a number of technical problems in the structuring of imagery and the handling of syntax. The work begins, therefore, by tracing the philosophical assumptions behind the ideas of the Symbol and of the musical analogy. I then go on to examine two of the difficulties that these ideas produced. One is the tension between the analogical structure of a poem’s imagery and its metaphorical texture: quite simply, the more compressed and complex a poet’s metaphors become, the more they tend to disrupt the poem’s structure of imagery. The other problem is obscurity, which is caused by insufficient objectification of private images in a symbolic structure, and by fused metaphor, which is essentially a metaphor with an obscured ground of resemblance. Finally, I show how these difficulties were solved by poets outside the tradition who used a more articulate kind of syntax, yet who also managed to combine that syntax with the ideal of symbolic form. The implicit argument, then, is that the Romantic-Symbolist ideas of form, and the New Critics’ theories of form which were largely based on them, are able to elucidate an essentially different kind of poetry, and thus have some degree of truth and use beyond the tradition that generated them.
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Martens, Anna Maria. "L’imaginaire aquatique dans la poésie symboliste francophone et polonaise : une étude comparatiste." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040084.
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Les études consacrées à la thématique de l’eau sont multiples. Néanmoins, elles concernent le plus souvent un des aspects de la symbolique aquatique et se réfèrent à la littérature d’un seul pays ou même d’un seul auteur. Tenant compte des ouvrages de recherches déjà existants, nous aimerions présenter dans une seule étude la lecture comparatiste des auteurs qui n’ont jamais été réunis dans le contexte de l’imaginaire aquatique. Le choix du domaine polonais et francophone n’est pas contingent. Le modernisme polonais, pour des raisons historiques, surgit un peu plus tard que le symbolisme à l’Ouest de l’Europe. Grâce à ce décalage, il s’inspire d’auteurs tels que Mallarmé, Verlaine, Baudelaire ou Maeterlinck et de peintres tels que Gustave Moreau ou Odilon Redon. L’analyse de ces œuvres nous semble d’autant plus intéressante qu’elle concerne deux langues et deux cultures différentes qui comprennent et expriment le symbole chacune à sa manière.En effectuant une recherche littéraire et linguistique, et en appliquant différentes méthodes d’analyse, nous espérons avoir abouti à une étude approfondie de la création des artistes francophones et polonais qui aidera à mieux connaître leurs mondes imaginairesThere are a lot of studies on the theme of water. However, they usually concern one aspect of aquatic symbolism and refer to the literature of one country or even a single author. Taking into account the existing research, I would like to present in a single study the comparative analysis of authors who have never been gathered in the context of the aquatic imagination.The choice of Polish and French-speaking area is not contingent. Polish modernism, for historical reasons, appeared later that the symbolism in western Europe. With this shift, he was inspired by writers such as Mallarmé, Verlaine, Baudelaire, or Maeterlinck and painters such as Gustave Moreau and Odilon Redon. The analysis of these works seems a lot more interesting as it involves two languages and two cultures that include the symbol and express it in their own way.By searching literature and language, and applying different methods of analysis, I hope to have led to a thorough study of the works of French and Polish artists that will help better understand their imaginary worlds
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Yoo, Sirah. "Ineffable: Latency in Symbolic Languages." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4814.
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The design process demands comprehensive knowledge of visual signs and symbols with a focus on visual literacy; it is related to visual syntax, semantics, and the pragmatics of contexts. My work is an interdisciplinary investigation into how designers integrate polysemantic signs into their design process for particular and highly individualized audiences. By analyzing the role of signs in specific contexts across the spectrum of arts, society, literature, and semiotics, a designer's understanding of the cyclical nature of interpretation and reinterpretation in complex environments creates an avenue for cultivating a new schema that provides further levels of interpretations and different access points. By removing elements from their original context, and fusing these elements into new narratives, we implement new meanings and emphasize the value of interpretation.
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Brown, Goodwin. "The Search for Self: Individuation and the Alchemical Process in the Vida de Santa Maria Egipciaca." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin997379263.
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Gironce-Evrard, Marie-Anne. "La symbolique des saisons dans la poésie lyrique, en Italie, en Espagne et en France, 1465-1645 un prétexte pour dire le temps /." Villeneuve d'Ascq, France : Presses Universitaires du Septentrion, 2000. http://books.google.com/books?id=Wk9ZAAAAMAAJ.
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Varsimashvili-Raphael, Maïa. "« Les fleurs de Baudelaire dans le jardin de Bessiki » : le symbolisme géorgien dans ses rapports avec la France et la Russie." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100029.
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Au début du XXe siècle, le symbolisme prend une ampleur internationale et traduit la tendance à double sens du monde moderne : une « universalisation» et, en même temps, une accentuation des particularités nationales. Ses sources d’inspiration, nombreuses, vont des traditions nationales aux mouvements avant-gardistes. L’œuvre artistique devient un espace de correspondances, de synthèse, de croisement de différentes sensibilités. Le symbolisme, en Géorgie aussi bien qu’en Russie ou en France, traduit un « climat », un milieu intellectuel et artistique, un système de valeurs socio-culturelles. Le symbolisme géorgien se présente non seulement comme un laboratoire de recherches artistiques, mais il apporte également sa vision du monde moderne et prend part à la structuration de la conscience nationale. Le poète géorgien annonce sa participation à l’épopée de la liberté sur un plan individuel, national ou universel. Le symbolisme s’avère être à la fois un instrument de destruction des valeurs établies mais aussi de création des valeurs nouvelles. Ces valeurs s’inscrivent dans le cadre de systèmes de représentation qui changent d’un pays à l’autre. L’observation de la transmission du « message symboliste » dans des contextes différents démontre qu’il n’y a pas un seul modèle de symbolisme mais que l’on peut parler « des symbolismes »At the beginning of the twentieth century, symbolism became international in its scope and translated the twin trends of the modern world: a ‘universalisation’ and, at the same time, an accentuation of national differences. Its numerous sources of inspiration included national traditions as well as avant-garde movements. The artistic work became marked by correspondences, synthesis, the intersection of different sensibilities. In Georgia, just as much as in Russia or France, symbolism translated a ‘climate’: an intellectual and artistic milieu, a system of social and cultural values. Georgian symbolism was not only a laboratory of artistic research; it also brought to bear its vision of the modern world and took part in the structuring of the national consciousness. The Georgian poet announced his participation in the epic story of liberty on an individual, national or universal plane. Symbolism proved itself to be an instrument both of the destruction of established values and of the creation of new values. These values are part of the systems of representation that change from one country to another. Observation of the transmission of the ‘symbolist message’ in different contexts demonstrates that there is not one single model of symbolism; instead, we must speak of ‘symbolisms’
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Tao, Hanwei. "Symbolisme et surréalisme français comme défi aux lettres chinoises : le cas de Shanghai et de Taïwan." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030016/document.
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Cette étude se situe dans le contexte des échanges culturels franco-chinois qui se produisent à Shanghai pendant les années vingt et trente et à Taïwan pendant les années cinquante et soixante. Nous nous proposons d’interroger la quête poétique — la quête de la métamorphose — à laquelle s’adonnent, avec l’aide du symbolisme ou du surréalisme, des poètes chinois sur un fond de conflits intellectuels, idéologiques et militaires. Ces écoles françaises sont intimement liées au destin personnel de ces poètes qui se voient à la merci de celui de leur pays. Aussi munis des ailes symbolistes ou surréalistes, ils ne peuvent échapper à une réalité pénétrée par la politique. Le fond historique et culturel en question renvoie à un cadre de référence structuré par les six principaux groupes d’écrivains qui contribuent à l’échange poétique franco-chinois et qui sont inévitablement impliqués dans la politique : la “Société d’études littéraires”, “Création”, l’école “Le croissant” et l’école “Moderne” à Shanghai durant les années vingt et trente ; l’“École moderne” et “Genèse” à Taïwan durant les années cinquante et soixante. C’est dans ce cadre que nous discutons, sur la base d’une analyse textuelle, de la réception du symbolisme à Shanghai et de celle du surréalisme à TaïwanSituated in the context of the Franco-Chinese cultural intercourse which happens in the Shanghai of the 20s and the 30s and in the Taiwan of the 50s and the 60s, this study aims to discuss the poetic quest — the quest of metamorphosis — to which some Chinese poets devote themselves by referring to symbolism or surrealism, a quest which takes place against a background of intellectual, ideological, and military conflits. These French literary schools are intimately linked with the fate of these poets at the mercy of the fate of their country. No matter how well they are equipped with symbolist or surrealist wings, they cannot escape from the reality of an age penetrated by politics. The historical and cultural background in question has to do with the frame of reference constituted by the six principal groups of writers reputed for their contributions to Franco-Chinese poetic intercourse : “Society of literary studies”, “Creation”, the school “New Moon”, and the school “Modern” in Shanghai during the 20s and the 30s; “Modern School” and “Genesis” in Taiwan during the 50s and the 60s. They are all involved in politics. It is within this frame of reference that we approach the subject of the reception of symbolism in Shanghai and that of the reception of surrealism in Taiwan on the basis of a textual analysis
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Diassinous, Nicolas. "Crise de scène : dramaturgies poétiques du romantisme au symbolisme." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0398.
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Cette réflexion porte sur l’influence de la poésie lyrique dans les œuvres théâtrales du romantisme au symbolisme. En essayant de confronter les corpus du drame romantique et du théâtre symboliste et en exhumant celui du théâtre des poètes parnassiens et de leurs contemporains, elle entend dégager des constantes et mettre en lumière une crise du théâtre aristotélicien, dont les effets se prolongent jusque dans les dramaturgies de l’extrême contemporain. Mais penser un théâtre de poètes, autrement dit un théâtre qui intègrerait les propriétés de la poésie lyrique au sein du genre dramatique, revient à soulever un certain nombre de paradoxes.Ce théâtre des poètes est d’abord un théâtre qui minore de plus en plus le poids de l’action, au profit de l’expression lyrique. Le drame et le système actantiel qu’il véhicule tendent à se réduire à une seule situation, unique et statique, de laquelle les conflits intersubjectifs ont été évacués. La poésie lyrique, de par sa subjectivité, intériorise le drame et c’est désormais au sein d’un même sujet qu’il faut chercher les composantes dramatiques. Son intérêt pour l’intériorité conduit le théâtre des poètes à délaisser le système de la représentation mimétique, parce qu’il préfère, à la réalité objective et concrète, le domaine plus abstrait des idées. Cette subjectivité qu’importe la poésie dans le genre théâtral pousse finalement les dramaturges à braver le tabou absolu du théâtre aristotélicien, à savoir la présence du poète dans son œuvre : la lyricisation du théâtre entraîne ainsi la manifestation du poète dans sa pièceThis reflection deals with the influence of lyrical poetry over theatrical works from romanticism to symbolism. By confronting the corpuses of the romantic drama and the symbolist theater, but also by exhuming the Parnassiens’ theater, it envisions encountering constants and highlighting a crisis of Aristotelian theater whose effects extend up until the most contemporary dramaturgies. But considering the existence of a theater by poets, one that integrates the characteristics of lyrical poetry into the dramatic forms, raises several paradoxes. This theater by poets is before all one that reduces more and more the importance of the action, in favour of the lyrical expression. The drama and the actantial model it implies get converted in one unique and static situation, where all the intersubjective conflicts have been erased. Because of its subjectivity, lyrical poetry internalizes the drama: and thus all the dramatic components have to be searched for inside the subject. Its interest for interiority leads the theater by poets to abandon the mimetic representation system, because of its favouring of the abstraction of ideas over the objective and material reality. This subjectivity imported by poetry into the dramatic form explains why the dramatists break the absolute taboo of Aristotelian theater: the poet’s presence inside his play. The lyricisation of theater entails the poet’s manifestation in a form where it is prohibited
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Bailey, Hannah McKendrick. "Misinterpretation and the meaning of signs in Old English poetry." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:880a2482-9573-4142-be27-ec8c87cfa3fb.
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This thesis investigates how Old English poets understood the processes of signification and interpretation through analysis of depictions of poor interpreters and the use of 'sign terms' such as tacen and beacen in the longer Old English poems. The first chapter deals with the Beowulf Manuscript, the second and third chapters consider Elene and Andreas within the network of related poems found in the Vercelli Book and the begin- ning of the Exeter Book, the fourth chapter is on the Junius Manuscript, and the conclusion looks at the use of the 'bright sign' motif across all four major poetic codices. I suggest that there is a 'heroic sign-bearing interpreter' character-type which several of the poems utilize or ironically invert, and that poor interpretation is nearly always asso- ciated with hesitation, which often resembles acedia. I also argue that there is greater nuance in the poems' depictions of modes of understanding than has previously been acknowledged: Eve in Genesis B does not stand for the senses which subvert the mind, but rather models the limits of rational thought as a means of understanding God, and Elene does not depict a simple opposition of letter and spirit, but a threefold mental pro- cess of learning about the Cross with analogues in exegesis and Augustine's Trinity of the Soul. Finally, I argue that there is a 'bright sign' motif which functions within a brightness-sign-covenant concept cluster, whose evocation as a traditional poetic unit is not identical to the denotation and connotation of its constituent parts. These strands of inquiry taken together demonstrate how Old English poems invest signs with significance by tapping into a specifically poetic network of allusion.
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Douglas, Melissa Claire. "Subjectivity and symbolism : a reconsideration of the figure in the art and poetry of David Jones (1895-1974)." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598612.
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Since the birth of David Jones scholarship in the 1930s, research into the Anglo-Welsh artist has often overlooked the motif of the human figure, focussing instead upon the visual lure of landscape and still life, or the complex strands of religious, mythological and nationalistic concerns woven into Jones’s poetic oeuvre. Readings of the figure have been clouded by misleading generalisations and long-standing assumptions about the subject’s form, function and identity. Conscious of the artist’s participation in the First World War, his battle with psychological illness, and his acute sense of personal isolation, scholars have invariably dismissed drawings and watercolours of the figure - in particular those of the female - as self-indulgent, regarding them as therapeutic in function and stylistically insignificant. Excessively reliant upon the Aristotelian notion of gender principles and Freudian methods of psychoanalysis, interpretations of those characters portrayed in Jones’s poetry have been equally limiting and reductive. In response to the oversights and inadequacies of existing criticism, this thesis redirects critical attention onto the motif of the figure, exploring both its physical capacity to trace the growth and maturation of Jones’s style, and the specific ways in which the figure reflects and is conditioned by the intricacies of the artist’s biography and ideology. After an extensive examination of Jones scholarship to date, a comprehensive survey of the figure is presented, charting the development of both male and female figures in strictly formal terms, highlighting stylistic trends in their textual and visual representation, and drawing parallels with the work of other artists and poets within Jones’s cultural milieu. Considering the painter-poet’s apparent contempt for self-expression in the creation of the artistic product, the thesis then proceeds to examine the figure as a symbolic motif. With reference to the artist’s interpretation of Roman Catholic doctrine, and his apparently uneasy and ambiguous relationship with the nude, consistent attempts on behalf of the artist to deny any emotional or subjective identification with the figure are discussed. Such distinct feelings of ambivalence towards the figure are then pursued further in the final stages of the thesis, where a selection of preliminary sketches of the female body are closely analysed in the light of post-Freudian psychoanalytic theory.
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Schott, Sonia. "L'oeuvre poétique de Karl Wolfskehl (1869-1948) : de la vocation littéraire à la révélation prophétique." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20129.
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La problématique essentielle qui sous-tend l’existence du poète Karl Wolfskehl (1869-1948) est celle d’un sentiment de double appartenance car il est Juif et Allemand. Sa vocation poétique connaît deux moments décisifs : la rencontre en 1897 avec Stefan George, le chef de file du symbolisme allemand dont il devient l’ami fidèle et le fervent disciple, lui permet de travailler ses poèmes comme un matériau précieux, la langue des poèmes n’étant asservie à d’autre fin qu’elle-même. Puis le triomphe du nazisme en Allemagne en 1933 contraint Wolfskehl à partir d’abord en Italie puis en Nouvelle-Zélande, où il demeure jusqu’à sa mort en 1948. Cet exil suscite chez Wolfskehl une crise existentielle sans précédent et un renouveau dans l’écriture : à la quête de perfection formelle succède une poésie religieuse ancrée dans le judaïsme et que Wolfskehl place sous le signe de Job.L’ensemble de l’œuvre de Karl Wolfskehl se distingue de par sa tonalité mystique. L’objet de notre recherche est de prendre en compte les rapports entre poésie et religion pour tenter de caractériser l’art poétique de l’auteur. Nous nous concentrons sur les évolutions de la notion de prophétie dans l’œuvre de Wolfskehl pour aborder tout autant l’héritage hölderlinien du poeta vates que celui des prophètes bibliques (nebiim). En articulant notre réflexion autour du principe dialogique (Buber) et en interprétant la manière dont l’œuvre littéraire transforme les symboles de la kabbale (Scholem), nous montrons que les poèmes sont le théâtre d’un affrontement dialectique entre l’humain et le divin où se révèle une herméneutique de la souffrance. On peut alors déterminer les enjeux philosophiques et historiques de l’autofiction du poète en Job, la poésie de Wolfskehl se proposant à la fois de penser « l’excès du Mal » (Nemo) et d’interpréter le destin du peuple juif (Susman)The existence of the poet Karl Wolfskehl is characterised by the feeling of a double identity, for he is both Jewish and German. The two decisive moments of his poetic vocation are his meeting in 1897 with Stefan George, one of the leaders of German symbolism; he became his faithful friend and devoted disciple. This encounter allowed him to consider his poems as precious material, with no other goal than language per se. The second point is that, due to the outcome of Nazism in Germany in 1933, he had to exile himself to Italy then to New-Zealand, where he stayed until his death in 1948. This exile is at the root of an unprecedented existential crisis and of a renewal in his writing: from a quest of formal perfection he reaches a religious poetry anchored in Judaism assimilated to the persona of Job. The whole work is infused with a mystical tone. Our research aims to try to account for the relationship between poetry and religion in order to characterize the poetic art of the author. We focus on the evolutions of the notion of prophecy in the work of Wolfskehl, so as to deal with both the holderlinian heritage of poeta vates and that of the biblical prophets (Nebiim). By concentrating on the dialogical principle (Buber) and by interpreting the way the literary work transforms the symbols of the Kabbala (Scholem), we will show that the poems are the scene of a dialectic confrontation between the human and the divine, which reveals a hermeneutic of suffering. From a philosophical and historical point of view, we question the identification of the poet with Job in so far as Wolfskehl’s poetry reflects the excess of evil (Nemo) while allowing to interpret the destiny of the Jewish people (Susman)
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Wubbold, Manya. "Linguistic and cultural continuity through the symbolic representation of the naj 'house' in contemporary Mayan poetry." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/52463.
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This interdisciplinary study (linguistic and literary) is based on a corpus of contemporary Mayan poetry that has been written in Peninsular (Yucatec) Maya and translated into Spanish by the authors. These particular poets were selected for this investigation because they have all participated in, or were influenced by the Resurgence in Mayan contemporary literature. And as writer/activists they write to promote and disseminate Mayan language and culture through poetry.
All of the poems were selected for this corpus due to their rich depiction of Mayan cultural beliefs and symbolism and because they all feature the concept of naj ‘house’ as an essential and unifying theme. As the naj embodies (physically and metaphorically) the heart and/or center of Mayan Creation and re-Creation and is a recurrent conception in both pre-Colombian and contemporary Mayan literature, it is a key symbol utilized by these poets in reference to Mayan linguistic and cultural continuity.
In addition to the naj, there are two other essential symbols―the three-stone hearth and the Ceiba or Mayan sacred tree―that unite these poems into a cohesive narrative. Like the naj, the three-stone hearth and the Ceiba are important icons in Mayan symbology representing the process of cultural generation and regeneration.
By combining a linguistic (semantic) and literary analysis of the Mayan version of each poem, this investigation reveals information on how cultural symbolism is conceptualized and communicated through language and poetic expression unique to Mayan culture. In particular, this study focuses on the poets’ utilization of polysemous terminology and the poetic devices of difrasismo and parallelism to express complex networks of symbolic meaning. As this linguistic and poetic expression reflects structural aspects of the language as well as literary tropes recurrent in ancient (glyphic and pictorial) and contemporary works, it demonstrates a conceptual, linguistic, and literary continuity spanning millennia.
The combined linguistic and literary analysis of this corpus was then utilized as the basis for a pedagogical proposal to be used in the training of bilingual teachers (Spanish/English) working in schools in Portland, Oregon serving a large community of Yucatec Maya living in diaspora.Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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McGuinness, Patrick. "Maurice Maeterlinck and the development of modern drama." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308899.
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Wilson, Brandy Michelle. "A Semanalytic Approach to Modern Poetry: Examining Elizabeth Bishop Through the Theories of Julia Kristeva." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/42107.
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In utilizing Kristeva's psychoanalytic discursive theory of identity-formation within literary symbolic structures, my thesis seeks to follow the ontological processes involved in identity and signification in “subversive” signifying practices. Specifically, I'm interested in the ways modern poetry (such as Elizabeth Bishop) defies traditional patriarchal discourse as dominant literary devices while embracing plurality and inherent virtues of the female voice. My project will trace Kristeva's semiotic/psychoanalytic evolution from linguistic models of the signifying process, to particulars of her psychoanalytic/linguistic theories, and finally, will attempt to construct a space within modern poetry, where it can be said, the subject (poet) remains on trial/in crisis, and poetic expression reveals the “jouissance” or unspoken voice of repression.
Bishop's poetry constantly questions reality, knowledge, sexuality and the self. I strive to expose how Bishop's poetry performs Kristeva's theory of the self in writing; her poetry puts at the core of the self a sense of loss in her attempts to express herself in language. I offer close readings of “The Fish,” “Questions of Travel,” and “One Art,” to show how Bishop's self exposes the unconscious process of poetic activity. Kelly Oliver articulates Kristeva's contributions to linguistics and psychoanalysis quite succinctly, “When we learn to embrace the return of the repressed/the foreigner within ourselves, then we learn to live with, and love, others” (14).Master of Arts
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Johnson, Andrea C. (Andrea Carswell). "Garden imagery in the poetry of Wallace Stevens (1879-1955)." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72085.
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Creativity, for Wallace Stevens, depends on connections to the natural world which can be examined through garden imagery. Chapters one and two focus on Stevens' private writing, identifying the range of garden environments and natural expanses to which he responded and associating these responses with his aesthetic sensibilities. Continental and Adamic traditions in garden imagery are explored as are contemporary practices in conservation and horticulture. Chapter three concentrates on poems which treat the garden as a locus amoenus of repose and delight where a poet can engage his imaginative faculties with sensual reality. Chapter four analyzes poems whose garden imagery elucidates Stevens' attempts to confront social and political as well as aesthetic issues. Chapters five and six examine Stevens' consideration of the garden as a hortus mentis, emblematic of creative experience, where Stevens assesses the relation of expression to environment and celebrates life lived "in the word of it."
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Burkowski, Jane M. C. "The symbolism and rhetoric of hair in Latin elegy." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:44e36b32-8c44-4dd0-8241-3206e40e67f9.
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This thesis examines the hair imagery that runs through the works of Propertius, Tibullus, and Ovid. Comparative analysis of the elegists’ approaches to the motif, with particular emphasis on determining where and how each deviates from the cultural assumptions and literary tradition attached to each image, sheds light on the character and purposes of elegy as a genre, as well as on the individual aims and innovations of each poet. The Introduction provides some background on sociological approaches to the study of hair, and considers the reasons why hair imagery should have such a prominent presence in elegy. Chapter 1 focuses on the elegists’ engagement with the idea of cultus (‘cultivation’), and their manipulation of the connotations traditionally attached to elaborate hairstyles, of sophistication on the one hand, and immorality on the other, to suit an elegiac context. Chapter 2 looks at how the complexities of the power relationship between the lover and his mistress play out in references to violent hair-pulling. Chapter 3 focuses on the sometimes positively and sometimes negatively spun image of grey-haired lovers, as a reflection of the lover-poet’s own contradictory wishes for his relationship with his mistress; it also considers grey hair as a symbol of physical mortality, as contrasted with poetic immortality. Chapter 4 examines the use of images of loose hair (especially images of dishevelled mourning) to suggest connotations ranging from the erotic to the pathetic, and focuses on the effects the elegists achieve by using a single image to communicate multiple implications. The Conclusion considers the ‘afterlife’ of elegiac hair imagery: the influence that their approaches had on later authors’ handling of similar images.
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Etheridge, Kate. "Dynamic reflections : mirrors in the poetic and visual culture of Paris from 1850 to 1900." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:0ad79384-a85e-4fbd-93d5-d5b993844ffb.
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This thesis explores the transformation of the mirror's symbolic role in the poetry and visual art of late nineteenth-century Paris. For centuries the mirror has been associated with both truth and artifice, whether in religion, popular culture, art, or theories of aesthetics. In the context of nineteenth-century literature, M.H. Abrams uses the mirror to represent the age-old idea of the artist as an objective reflector of the world, juxtaposing this with the nineteenth-century notion of the artist as a subjective lamp. However, this thesis shows that, far from being abandoned as a symbol of artistic expression, the mirror motif was reclaimed and reinterpreted by Baudelaire and his artistic and poetic successors. The thesis argues that their works highlight the distortions and ambiguities that the mirror can produce, using it as a motif to challenge and alter our mode of vision. This thesis focuses on the visual and poetic culture of Paris between 1850 and 1900, when mirrors were increasingly visible in a range of public and private settings. Building on Walter Benjamin's descriptions of Paris as a city of mirrors and a locus of multiple, shifting gazes, the thesis examines how the perceptual experiences of modernity feed into the development of the mirror's symbolic role. Through a series of close readings, the thesis analyses the dynamics of mirror-vision and explores the shared preoccupations of art and poetry in their treatment of subjectivity, vision, and self-reflexive artistic practices. The thesis is arranged into three sections, examining texts by Charles Baudelaire, Henri de Régnier, Jules Laforgue, Stéphane Mallarmé, and Marie Krysinska, and artworks by Edgar Degas, Edouard Manet, Henri de Toulouse-Lautrec, Berthe Morisot, and Mary Cassatt. The first section assesses Baudelaire's works as a turning point for the mirror's symbolic significance, particularly examining how Baudelaire reinterprets the association between mirrors and femininity. The second section explores this latter connection in the art and poetry of Baudelaire's late nineteenthcentury successors. The third section examines the mirror's appearance in various ambiguous or ill-defined spaces, assessing how this affects the reader's or viewer's perceptions. I conclude that in the art and poetry of this period, the mirror becomes an emblem of self-reflexivity. Through works that prioritise mobility, multiplicity, and fragmentation, these artists and poets subvert the mirror's associations with mimesis in order to expose the dynamic uncertainty of vision and artistic representation.
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Sultanyan, Ani. "La réception du symbolisme français dans la poésie arménienne : le cas de Siamanto (1878-1915)." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL200.
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Dans la deuxième moitié du XIXe siècle, dans la poésie arménienne, un courant littéraire, considéré comme une école symboliste par la critique arménienne de cette époque, s’est formé parallèlement au romantisme. La présente thèse étudie dans quelle mesure l’école symboliste apparue en Arménie résulte de liens effectifs avec le symbolisme français : l’école littéraire fondée par Jean Moréas en 1886, mais aussi avec Charles Baudelaire, Stéphane Mallarmé et Paul Verlaine.Il importe de souligner que, dans la littérature arménienne, le symbolisme n’est pas considéré comme un mouvement indépendant : il est associé au « néoromantisme » et couramment appelé « mouvement néoromantique-symboliste ». Il est à noter que les poètes appartenant à ce mouvement ont souvent refusé de reconnaître leur lien avec le symbolisme, celui-ci étant considéré comme synonyme d’une attitude individualiste faite d’égoïsme et de mysticisme, comme un art décadent, compromettant pour le poète. La richesse du mouvement symboliste arménien a donc été méconnue, étouffée sous des stéréotypes, déformée et caricaturée.Cependant, il est impossible de nier le lien de certains grands poètes arméniens avec le symbolisme. Les recueils de poèmes de Siamanto (1878-1915), de Missak Métsarents (1886-1908), de Vahan Tékéyan (1878-1948), de Vahan Térian (1885-1920), de Yéghiché Tcharents (1897-1937) sont considérés par la critique arménienne comme appartenant au courant symboliste. La présente thèse étudie notamment la poésie de Siamanto qui fut influencé par le symbolisme français mais aussi par l’art poétique de Grégoire de Narek, le plus grand poète arménien mystique (vers 950 – 1003/1011)In the second half of the 19th century, in parallel with the Romanticism, another literary current was formed in Armenian poetry, considered as the Symbolism by the Armenian critics of the epoch. The present thesis studies the links of the newly emerged Armenian school of Symbolism with the French Symbolism, more precisely, the literary current founded by Jean Moréas in 1886, but also with Charles Baudelaire, Stephane Mallarmé and Paul Verlaine. It is necessary to underline that, in Armenian literature Symbolism is not considered as an independent movement. It is linked to the "neo-Romanticism" and is referred to as "néo-Romantic-Symbolist movement". It should be noted that the poets belonging to this movement often refused to admit their link to it. This is considered as an expression of individualistic attitude brought by selfishness and mysticism, a decadent art which jeopardises poets. Thus, the wealth of the Armenian Symbolist movement was misread, stifled under stereotypes, distorted and caricatured.However, it is impossible to deny the link of some Armenian great poets with the Symbolism. The collection of poems of Siamanto (1878-1915), Misak Metsarents (1886-1908), Vahan Tekeyan (1878-1948), Vahan Terian (1885-1920), Yeghishe Charents (1897-1937) are considered by Armenian critics as works belonging to the movement of Symbolism. This thesis studies especially the poetry of Siamanto who was influenced by French symbolism but also by the poetic art of Gregory of Narek, the greatest Armenian mystical poet (c. 950 – 1003/1011)
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Titus, Craig. "Toward a Wordsworthian Sublime: Symbols of Eternity in Wordsworth's Poetic Vision." Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/TitusC2008.pdf.
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Nicolas, Candice. "Cataclysmes poétiques du poète maudit aux poètes déchéants. Rimbaud, Cocteau, Vian /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149017377.
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Knowles, Robert. "The sacramental vision of Gerard Manley Hopkins and David Jones." Thesis, Queen Mary, University of London, 1990. http://qmro.qmul.ac.uk/xmlui/handle/123456789/28953.
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This thesis examines the nature of what I have termed "the sacramental vision" of Gerard Manley Hopkins and David Jones: it is an exploration of the mutually sustaining relationship between poetry and religion; or, as Jones puts it, between art and sacrament. The key to the relationship is to be found in language: the inherited language of theologian and poet is saturated with metaphor, sign and symbol, linguistic forms of a particularly resistant and irreducible kind. In literature, as in religion, such forms represent ultimate points of vision, to which in trust we assent, and from which we infer belief, that is, we are required to convert what begins as "an impression upon the Imagination" into a belief which may be tested by reason. The poet's renewal of such sacramental signs is a necessary exercise of the religious imagination if each generation is to remake the beliefs it has inherited. The opening chapter is an examination of the origins of Hopkins's and Jones's use of the sacramental sign and the subsequent chapters scrutinise the value of sign-making to the development of the poetic method of both poets. I suggest that this method is best elucidated through three controlling principles: the Coleridgean view of the sacramental potential of language helps to define the verbal content of the poem; the Thornist sacramental schema instresses the form of the poem; and the Newmanesque process of notional and real assent determines the grammar or inscape of the total oeuvre as a chronicle of the development of the poet's spiritual growth. Hopkins and Jones deepen our understanding of a grammar common to faith and belief, shared by poet and theologian, by claiming that poetry should be the tranforming crucible of the encounter between the experience of the poet, the reader and the divine.
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Dickerson, Brendhan Bailie. "Magical realism and subjective reality : an investigation of poetic symbolism and the development of related sculptures." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/13862.
Full textAbstract:
Bibliography: leaves 58-62.To meet the requirements for the Master of Fine Art degree at the University of Cape Town my intention was to develop a series of sculptural assemblages which address a sense of subjective or poetic reality, using symbolically resonant found and fabricated objects. The body of work is to be understood as a sculptural parallel to (but not illustrative of) Magical Realist literature, in which arcane phenomena are incorporated into a narrative in order to achieve just such a sense of subjective reality.
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Kuntsevich, Daria. "L'oeuvre de Nicolas Minsky dans le contexte du symbolisme français." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30001/document.
Full textAbstract:
La thèse présente une analyse comparative de l’œuvre du poète, philosophe, journaliste et dramaturge Nicolas Maksimovitch Minsky, l’un des fondateurs du symbolisme en Russie. L’œuvre de Minsky est considérée dans le contexte du symbolisme français. Le présent travail étudie la genèse du symbolisme russe qui s’est partiellement inspiré des notions et de l’esthétique du symbolisme français. Il contient un large corpus des traductions inédites des textes russes jamais étudiés dans le cadre des analyses littéraires. Ces textes apportent des éléments précieux permettant de mieux comprendre la situation socioculturelle et les particularités de la conscience « transitoire » de la fin du XIXème siècle. L’œuvre de Minsky est née sous l’influence de deux littératures, française et russe. L’approche comparative permet donc de définir sa place dans l’évolution de la culture mondiale et de réaffirmer l’importance des liens culturels entre la France et la RussieThe dissertation is devoted to a complex comparative research of works of the poet, philosopher, publicist, playwright and one of founders of symbolism in Russia, Nikolay Maksimovich Minsky, in the context of the French symbolism. The dissertation examines the genesis of early Russian symbolism, which was partially shaped by the concepts and categories of French symbolism. The work presents a large body of texts in Russian, translated into French for the first time and previously not subject to literary analysis; these texts reveal the picture of the socio-cultural situation and the main features of the turn-of-the-century consciousness of the late XIX century. Minsky's work was formed at the junction of influence of French and Russian literature, so the comparative approach to the analysis of the poet's work allows us to determine its place in the development of world culture, as well as to emphasize once again the importance of the cultural ties between Russia and France
Диссертация посвящена компаративистскому исследованию творчества поэта, философа, публициста, драматурга, одного из родоначальников символизма в России, Николая Максимовича Минского, в контексте французского символизма. В диссертации рассматривается генезис раннего русского символизма, сформировавшегося частично благодаря понятиям и категориям французского символизма. В работе представлен большой корпус русских текстов, впервые переведенных на французский язык и ранее не оказывавшихся предметом литературоведческого анализа, которые раскрывают картину социокультурной ситуации и основные особенности рубежного сознания конца XIX столетия. Творчество Минского формировалось на стыке влияния французской и русской литератур, поэтому компаративистский подход к анализу творчества поэта позволяет определить его место в процессе развития мировой культуры, а также в очередной раз подчеркнуть важность культурных связей между Россией и Францией
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Ma, Jin. "Entre la sémiotique et le symbolique : problématique du langage chez Jean Baudrillard." Thesis, Lyon 3, 2011. http://www.theses.fr/2011LYO30056/document.
Full textAbstract:
Suivant le fil conducteur sous-jacent à la pensée de Jean Baudrillard, la présente recherche s’attache à explorer les premiers travaux de l’auteur afin de saisir sa conception de la nature du langage, du signe et du sens. Notre démarche s’inscrit dans une tentative de rendre compte à la fois des changements de paradigmes théoriques et d’explorer la vision du langage de Baudrillard dans le contexte des sciences humaines françaises. La théorie du langage de Baudrillard repose sur une double spirale à deux chaines que sont la sémiotique et le symbolique. Ces deux mouvements s’opposent au même objet critique qu’est le sens figé et passent, pour ce faire, par des approches largement diversifiées, voire contradictoires. La dimension symbolique, qui assure le vide ou le néant du sens, la consommation de la valeur ainsi que l’anéantissement du code, s’oppose ainsi à la dimension sémiotique dont l’objet est précisément orienté sur l’indétermination et les incertitudes du sens, sur la production de la valeur ainsi que sur l’hégémonie du code. La complexification de ces postulats au sein de la double spirale de Baudrillard est incontestable dans le champ des sciences humaines françaises. C'est dans l’espace entre le sémiotique et le symbolique – la double spirale visant à subvertir et à déconstruire la pensée moderne – que Baudrillard confère au symbolique le pouvoir mystérieux de renier les civilisations modernes, son engagement envers le statut originel du langage accompagné du rejet de la signification et de la communication suscitant une vision tant radicale qu’impossibleJean Baudrillard is regarded as one of the most important figures in contemporary French thought. His theoretical studies and cultural perspectives provide important insights into academic subjects. This dissertation probes Baudrillard’s early works to explore his view on language within the context of French Human Science. Baudrillard’s discussion about consumer objects, his critique of Semiology, his concept of simulation, and his debate over poetic language are closely examined to clarify the theoretical transitions and conflicts of his insights into the nature of language, sign and meaning.Baudrillard’s theorizing of language presents a ‘double spiral’ consisting of two chains: the semiotic and the symbolic. A thorough examination of such a spiral is the foundation for interpreting his view on language.The semiotic chain of the double spiral embodies sign and code. Baudrillard begins with the structuralist approach to the meaning of consumer goods, proceeding with a post-structuralist shift towards the critique of Semiology and the theory of simulation. These moves give insights into language and sign, which privilege the signifier as the principle of circulation and game. Baudrillard illustrates how the structure of the sign is dismantled, arguing that what is signified is merely an effect determined by the primacy of the signifier. In essence the signified is a structural play of the signifier under the manipulation of code.The symbolic chain is Baudrillard’s deepening investigation of primitive cultures as cultures of the symbolic exchange, to the discipline of which converge Mauss’s notion of gift, Bataille’s notion of expenditure and Saussure’s anagrams. Baudrillard claims that the poetic, as the terrain of the symbolic exchange in language, has brought out the antagonistic character of a non-expressive language, and has decentered the primacy of the signifier and the dominancy of code. The signifier in the poetic is dismembered into scattered phonemes, and the doubling up of phoneme and counter-phoneme is conceived as a cyclical cancellation. For Baudrillard, the exact poetic operation is equivalent to the signifier’s death and annihilation, a force proper to the destruction of the final signified or the signified in process, and proper to the extermination of code. Interpreted as a pure expenditure of language and a break with the logic of production, the poetic resolves the signifier, the distinction between the signifier and the signified, and accordingly the mechanism of language activity.Baudrillard’s double spiral, the coexistence and contest between these two chains, aims to reject the definite meaning and seeks to dismantle the structure of the sign and to explode all metaphysical binary oppositions. In spite of spiraling around the same critical object, the semiotic and the symbolic are showing widely divergent approaches. The semiotic chain implodes the unity of the signifier and the signified in the structural play of the signifier. The symbolic puts an end to the structure of the sign and thereby that of code, operating in a realm beyond all distinctions assigned by code. According to Baudrillard, the symbolic stands for the void or nothingness of meaning, the consumption of value and the extermination of code, as an antagonist force against the indetermination or incertitude of meaning, the production of value and the domination of code.There are inevitably positions of a more complex pattern that Baudrillard’s double spiral presents in the field of language studies in French Human Science. Baudrillard adhered to certain features and suppositions of the semiological tradition even as he struggled against it in the institutional settings of structural interpretation
鲍德里亚是法国思想界重要的标杆性人物之一，其理论研究和文化视角对当代社会理论和文化研究产生了广泛而深远的影响。本文试图厘清鲍德里亚思想语言维度的双重线索，从他对消费品的探讨、对符号学的批判、对拟真的研究以及对诗学语言的极端推崇来考察其对待语言符号以及意义问题的观点和立场转变，并阐释这些转变的理论根基和内在承接关系，以期在法国人文科学语境下对其思想的语言维度作出深入探索。从坚持意义结构观的消费品符号学到批判符号学的拟真理论，再转向推崇象征性交换的诗学研究，鲍德里亚思想的语言维度呈现出双链螺旋的趋势——符号化和象征性。就符号化螺旋而言，鲍德里亚思想的基点在于符号和符码，他从借鉴现代符号学思想起步，对物品和消费社会进行结构分析，然后以向后结构主义的转变来完成对符号学的批判和拟真理论的建构，这反映出他对现实社会符号、符码以及语言游戏的深度思考。语言的符号化螺旋凸显了能指优势和能指的结构游戏：能指和所指完全断裂，由二者构成的符号不再是一个稳固确定的结构；能指对于游离的所指来说具有压倒性的优势地位，所指意义是符码结构操作下的能指效果和能指游戏；作为符号联结的规则系统，符码结构是构造和生产意义的母体。就象征性螺旋而言，鲍德里亚把莫斯和巴塔耶对原始社会曾经存在的象征性交换方式奉为革命性手段，同时把索绪尔的易位书写笔记融入其中，寄希望于象征性交换方式对抗符号和符码操控下各种权力和价值的积累、生产和再生产。语言的象征性螺旋锁定在诗学语言对能指优势和符码霸权的去除：诗学语言通过易位书写方式把语词分解成零散的能指碎片，通过配对方式对这些能指进行重复，音素和音素的副本（即反音素）之间相互抵消，这种能指返回自身并作用于自身的象征性交换相当于能指的死亡和毁灭。能指的耗费相当于所指的耗费，诗学语言在摧毁能指的同时也摧毁了终极的先验所指以及过程中延异的所指。象征性交换消解了能指，消解了能指和所指的区分，同时也消解了这种区分对立背后的语言活动机制——操控意义生产和再生产的符码。双链螺旋语言研究形成了既共生又对抗的纠缠关系，其核心目标是否定意义确定论，其直接的批判对象是结构主义符号学的符号结构，而深层的批判对象则是形而上学赖以依存的二元对立思维模式。尽管双链螺旋围绕着共同的批判根基而盘旋上升，但不可否认双链螺旋在意义问题上呈现出大相径庭的批判进路。在拆解结构问题上，符号化螺旋是在语言符号学内部批判意义生产的结构，让能指和所指的符号二元结构内爆，突出由符码结构主导的能指游戏；而象征性螺旋则是在语言符号学外部超越意义生产的结构，诗学的象征性交换不仅要驱逐符号结构甚至要把等级二元的根基——符码结构也彻底终结。鲍德里亚视象征性螺旋为消灭能指的物质性和符号学符码规律的革命手段，以意义的空无、价值的耗费和符码的根除来对抗符号化螺旋之意义的不确定、价值的生产和符码的霸权。双链螺旋在法国当代人文科学语言研究的大背景下呈现出微妙的两面性。鲍德里亚虽然批判了结构主义符号学的形而上学但不可否认他还是坚守了结构主义的某些预设和准则；他似乎想靠近后结构主义阵营来反对结构主义，但是又想与后结构主义保持距离凸显个性，这种微妙的态度决定了他的语言研究游走于符号化和象征性之间。鲍德里亚一方面承认意义产生于语言游戏，尤其依赖于符号与符号之间的符码关系结构；另一方面，他孜孜不倦地试图摆脱符号和符码的控制，让语言回到非表意的声音或线条的原初状态，拒绝所有言说和意义。尽管双链螺旋顺应了西方人文科学语境中推翻意义、理性和主体等先验中心的大趋势，但是鲍德里亚在象征性螺旋中所秉持的观点极大地暴露了其思想的极端性和消极性，把象征性交换的耗费抬高为否定一切社会历史文明进步的超然力量，让已经具有了意指和交流功能的语言符号回复到非表意的混沌状态，不足以成为解决现实问题的办法。
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Ranne, Katriina. "Heavenly drops: the image of water in traditional Islamic Swahili poetry." Swahili Forum 17 (2010), S. 58-81, 2010. https://ul.qucosa.de/id/qucosa%3A11479.
Full textAbstract:
Iba Ndiaye Diadji, a Senegalese professor of aesthetics, sees water as intrinsic to African ontology. He also argues that water is the most important substance to inspire African artists. (Diadji 2003: 273–275.) Water certainly has a significant role in Swahili poetry, written traditionally by people living on the coast of the Indian Ocean. Swahili poems have used aquatic imagery in expressing different ideas and sensations, in different contexts and times. Water imagery can be found in hundreds of years old Islamic hymns as well as in political poetry written during the colonial German East Africa. This article discusses water imagery in traditional Islamic Swahili poetry.
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Marques, Helena Maria Medina. "lírica de Alice Ruiz S.: Imagens Poéticas, Mito e Sociedade: 2012." Universidade Estadual do Oeste do Parana, 2013. http://tede.unioeste.br:8080/tede/handle/tede/2347.
Full textAbstract:
Made available in DSpace on 2017-07-10T18:55:33Z (GMT). No. of bitstreams: 1
Helena.pdf: 3354486 bytes, checksum: df3e5498bd66a5f596faa86670a86e41 (MD5)
Previous issue date: 2013-03-07This investigation about the work of Alice Ruiz S. is founded in criticism and phenomenology with theoretical approaches on imaginary, so that the recurrent symbols, myths and poetic images can be analysed. In addition, the time of production is also considered, as well as its relationship with the social context, the age, and the influences on the production of the poet, with theretical foundations in Durand, studies of relationship between author, text and social environment that are calles mythcriticism and mythanalysis. The critical-theoretical notions were based on Durand, Bachelard, Cassirer Brunel , Chevalier; Gheerbrandt , Merleau Ponty, Nunes, Mello,among others. The research includes the study of the lyrics of Alice Ruiz S. by using Durand's methodologies of mythanalysis, mythochritics as well as hermeneutics and the identification and myths, symbols and images.The corpus consists of the following works: Navalhanaliga (1980), Até 79, Paixão Xama Paixão (1983), Minimal, Pelos Pêlos (1984), Hai-Tropikai (1985), Rimagens (1985), Vice-versos (1988), Desorientais (1996), Haikai (1998), Alice Ruiz Série Paranaenses nº3. (1988), Poesia pra Tocar no Rádio (1999), Yuuka (2004), Salada de Frutas (2008), Conversa de Passarinhos (2008), Dois em Um (2010), Três Linhas (2009), Boa Companhia (2009), Jardim de Haijin (2010), Estação dos Bichos (2011). Through this study it was possible to identify and analyze the main symbols, myths and images, from the perspective of mythocritics, mythoanalysis and that allowed us to understand the influence of the socio-cultural context on the lyrics of Alice Ruiz S. Ruiz It was noted the frequent use of word play and rhymes, poems that reflect existential crisis related to the position of women and historical situation; orientalism; greek mythology and integration with I-lyric with nature in her poetry.
Esta pesquisa sobre a obra de Alice Ruiz S. fundamenta-se na crítica e na fenomenologia com abordagens teóricas sobre crítica e imaginário, isto é, analisa-se os símbolos, mitos e imagens poéticas recorrentes na poesia de Alice Ruiz S. Além disso, também será considerado o momento de sua produção e sua relação com o contexto social da época e com as influências na produção da poeta, com bases teóricas em Durand, nos estudos entre: o autor, o texto e o meio social - por ele denominado mitocrítica e o contexto sociocultural - mitoanálise. As noções teórico-críticas foram embasadas em Durand, Bachelard, Cassirer, Brunel, Chevalier; Gheerbrandt, Merleau Ponty, Nunes, Mello, dentre outros. A pesquisa engloba o estudo da lírica de Alice Ruiz S. com base nos métodos da mitoanálise e mitocrítica de Durand, na hermenêutica e na identificação e mitos, símbolos e imagens. O corpus é constituído das seguintes obras Os livros analisados são: Navalhanaliga (1980), Até 79, Paixão Xama Paixão (1983), Minimal, Pelos Pêlos (1984), Hai-Tropikai (1985), Rimagens (1985), Vice-versos (1988), Desorientais (1996), Haikai (1998), Alice Ruiz Série Paranaenses nº3. (1988), Poesia pra Tocar no Rádio (1999), Yuuka (2004), Salada de Frutas (2008), Conversa de Passarinhos (2008), Dois em Um (2010), Três Linhas (2009), Boa Companhia (2009), Jardim de Haijin (2010), Estação dos Bichos (2011). Através deste estudo foi possível identificar e analisar os principais símbolos, mitos e imagens, dentro da perspectiva da mitocrítica e mitoanálise, que permitiram compreender as influências do contexto sociocultural da época na lírica de Alice Ruiz S. Constatou-se o uso frequente de jogo de palavras e rimas; poemas que refletem crise existencial relacionada à posição da mulher e situação histórica; o orientalismo; a mitologia grega e a integração com eu-lírico com a natureza em sua poética.
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Marques, Helena Maria Medina. "A lírica de Alice Ruiz S.: Imagens Poéticas, Mito e Sociedade." Universidade Estadual do Oeste do Parana, 2013. http://tede.unioeste.br:8080/tede/handle/tede/2373.
Full textAbstract:
Made available in DSpace on 2017-07-10T18:55:40Z (GMT). No. of bitstreams: 1
Helena Marques.pdf: 3354452 bytes, checksum: ce0675d6006c65b08419bffa88cdaec5 (MD5)
Previous issue date: 2013-03-05This investigation about the work of Alice Ruiz S. is founded in criticism and phenomenology with theoretical approaches on imaginary, so that the recurrent symbols, myths and poetic images can be analysed. In addition, the time of production is also considered, as well as its relationship with the social context, the age, and the influences on the production of the poet, with theretical foundations in Durand, studies of relationship between author, text and social environment that are calles mythcriticism and mythanalysis. The critical-theoretical notions were based on Durand, Bachelard, Cassirer Brunel , Chevalier; Gheerbrandt , Merleau Ponty, Nunes, Mello,among others. The research includes the study of the lyrics of Alice Ruiz S. by using Durand's methodologies of mythanalysis, mythochritics as well as hermeneutics and the identification and myths, symbols and images.The corpus consists of the following works: Navalhanaliga (1980), Até 79, Paixão Xama Paixão (1983), Minimal, Pelos Pêlos (1984), Hai-Tropikai (1985), Rimagens (1985), Vice-versos (1988), Desorientais (1996), Haikai (1998), Alice Ruiz Série Paranaenses nº3. (1988), Poesia pra Tocar no Rádio (1999), Yuuka (2004), Salada de Frutas (2008), Conversa de Passarinhos (2008), Dois em Um (2010), Três Linhas (2009), Boa Companhia (2009), Jardim de Haijin (2010), Estação dos Bichos (2011). Through this study it was possible to identify and analyze the main symbols, myths and images, from the perspective of mythocritics, mythoanalysis and that allowed us to understand the influence of the socio-cultural context on the lyrics of Alice Ruiz S. Ruiz It was noted the frequent use of word play and rhymes, poems that reflect existential crisis related to the position of women and historical situation; orientalism; greek mythology and integration with I-lyric with nature in her poetry
Esta pesquisa sobre a obra de Alice Ruiz S. fundamenta-se na crítica e na fenomenologia com abordagens teóricas sobre crítica e imaginário, isto é, analisa-se os símbolos, mitos e imagens poéticas recorrentes na poesia de Alice Ruiz S. Além disso, também será considerado o momento de sua produção e sua relação com o contexto social da época e com as influências na produção da poeta, com bases teóricas em Durand, nos estudos entre: o autor, o texto e o meio social - por ele denominado mitocrítica e o contexto sociocultural - mitoanálise. As noções teórico-críticas foram embasadas em Durand, Bachelard, Cassirer, Brunel, Chevalier; Gheerbrandt, Merleau Ponty, Nunes, Mello, dentre outros. A pesquisa engloba o estudo da lírica de Alice Ruiz S. com base nos métodos da mitoanálise e mitocrítica de Durand, na hermenêutica e na identificação e mitos, símbolos e imagens. O corpus é constituído das seguintes obras Os livros analisados são: Navalhanaliga (1980), Até 79, Paixão Xama Paixão (1983), Minimal, Pelos Pêlos (1984), Hai-Tropikai (1985), Rimagens (1985), Vice-versos (1988), Desorientais (1996), Haikai (1998), Alice Ruiz Série Paranaenses nº3. (1988), Poesia pra Tocar no Rádio (1999), Yuuka (2004), Salada de Frutas (2008), Conversa de Passarinhos (2008), Dois em Um (2010), Três Linhas (2009), Boa Companhia (2009), Jardim de Haijin (2010), Estação dos Bichos (2011). Através deste estudo foi possível identificar e analisar os principais símbolos, mitos e imagens, dentro da perspectiva da mitocrítica e mitoanálise, que permitiram compreender as influências do contexto sociocultural da época na lírica de Alice Ruiz S. Constatou-se o uso frequente de jogo de palavras e rimas; poemas que refletem crise existencial relacionada à posição da mulher e situação histórica; o orientalismo; a mitologia grega e a integração com eu-lírico com a natureza em sua poética
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Yaouanq, Tamby Emilie. "L’indétermination générique dans la prose poétique du symbolisme et du modernisme (domaines francophone et hispanophone, 1885-1914)." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040001/document.
Full textAbstract:
Cette thèse étudie les ressorts de l’indétermination générique dans les proses poétiques du symbolisme et du modernisme hispanophone, de 1885 à 1914. L’indéfinition et l’hybridité génériques se manifestent d’abord dans les représentations des formes et des genres, transparaissant dans les discours des écrivains et des critiques. La redéfinition du poétique entraîne la perception d’un continuum entre les formes et entre les genres. La chanson poétique et narrative symboliste et les recueils hétéroclites, associant différentes formes et différents genres illustrent ces phénomènes. Dans ce contexte, le genre du poème en prose tend à se confondre avec un genre limitrophe comme le conte. Cette indéfinition générique s’observe dans les textes, à travers différentes voies de poétisation du récit : la discontinuité, le statisme et la répétition, qui permettent d’explorer d’autres modes de représentation du temps, et de jouer sur l’ambiguïté référentielleThis thesis seeks to examine the mechanisms of generic indetermination in the poetic prose of francophone symbolists and hispanic modernists from 1885 to 1914. Generic indetermination and hybridity tend to appear at first in representations of forms and genres, and in the discourse of writers and critics. The new definition of the poetic category leads to the perception of a continuum between different forms and genres. The narrative poetic symbolist song and the heterogeneous collections mixing different types are an example of this tendency. In this case, the genre of prose poem tends to merge with contiguous genres such as the tale. The absence of generic definition may be observed in discontinuity, immobility and repetition which allow the exploration of other modes of time representation and the play on referential ambiguity