Rozprawy doktorskie na temat „Found poetry”

Over the last sixty years, overtly intertextual poems with titles such as “Poem Beginning with a Line by John Ashbery” and “Poem Ending with a Line by George W. Bush” have been appearing at an increasing rate in magazines and collections. These poems wed themselves to other texts and authors in distinct ways, inviting readers to engage with poems which are, themselves, in conversation with lines from elsewhere. These poems, which I refer to as “apprompted” poems, explicitly challenge readers to investigate the intertextual conversation, and in doing so, they adopt inherent risks. My thesis will chart the various effects these poems can have for readers and the consequences they may hold for the texts from which they borrow. Literary critics such as Harold Bloom and J. H. Miller have described the act of borrowing as competitive and parasitic—“agon” is Bloom’s term for what he sees as the oedipal anxiety of poets and poets’ texts to their antecedents, but an investigation of this emerging genre in terms of linguistic pragmatics shows that apprompted poems are performing a wider range of acts in relation to their predecessors. Unlike Bloom’s theory, which interprets the impulse of poetic creation through psychoanalysis, I employ linguistic terms from Brown and Levinson’s linguistic Politeness theory to analyze apprompted poems as conversational speech events. Politeness theory provides a useful analysis of these poems by documenting the weight of threats to the positive and negative “faces” of the participants in each poetic conversation. I have documented these “face-threatening-acts” and used them to divide apprompted poems into five major speech events: satire, revision, promotion, pastiche, and ecclesiastic. Ultimately, this paper serves at the intersection of literary criticism and linguistics, as I suggest a theoretical approach to the interpretation and criticism of apprompted poems by way of linguistic pragmatics.

Thesis (M.A.)--Indiana University, 2009.
Department of Philosophy, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Peg Brand, James Capshew, Richard Gunderman, Jane E. Schultz. Includes vitae. Includes bibliographical references (leaves 117-122).

This essay examines three contemporary Swedish poetry books that are all based on foundmaterial from everyday life such as transcriptions from a radio channel, personal calendarsand documents from the workplace. Using Martin Glaz Serup’s theories about relationalpoetry combined with Walter Benjamin’s ideas on the author as a producer, it investigates thepolitical and documentary dimensions of found poetry as a practice. The books are examinedone by one in chronological order and the analysis aims for a deeper understanding ofquestions about authorship, distribution and the poetic voice, as well as ethical dilemmas. Theresult recognises found poetry as a specific and complex method, that requires more attentionand research in a world where copying text is becoming as natural as writing in itself.

Jacques Brault é um escritor canadense natural de Montréal, ainda pouco conhecido no Brasil e que não possui nenhuma obra traduzida na íntegra para o idioma português. Artista muito versátil e de múltiplas facetas, Brault atuou com romancista, poeta, crítico literário além de ter escrito diversas peças teatrais. Muito engajado social e culturalmente ele é reconhecido como o escritor vivo do Quebec com maior prestígio no meio literário. O objetivo desse trabalho é propor traduções de textos do livro Au fond du jardin accompagnements de Jacques Brault. Esse livro é considerado como um microcosmo do trabalho desse autor e oferece uma panorâmica visão de toda sua obra. Cada uma das traduções possui uma abertura, a tradução com suas respectivas notas e por fim um comentário ao texto traduzido.
Jacques Brault is Canadian writer of Montreal, still little known in Brazil and has no work completely translated into Portuguese. A very versatile and multifaceted artist, Brault has worked as a novelist, essayist, poet, literary critic and has written several plays. Very social and culturally engaged he is recognized as the most prestigious living writer of Quebec. The goal of this research is to offer translations of texts present in the book Au fond du jardin accompagnements from Jacques Brault. This book is considered as a microcosm of Brault´s production and offers a panoramic view of all his work. Significant aspects of his work were remarked along the research. The choice of texts to be translated was based upon those aspects. Each of the translations possesses a brief explanatory text, the translation with notes and, at the end, a commentary section of the translated text.

Cette thèse s’efforce de penser le remploi d’archives comme un acte de création qui signale une possibilité fondamentale du medium filmique, à même d’exercer un retour à sa propre matérialité. Pour ce faire, elle s’appuie sur l’analyse de trois films contemporains - X+ (2010) de Marylène Negro, The Uprising (2012) de Peter Snowdon et Pays barbare (2013) de Yervant Gianikian et Angela Ricci Lucchi. L’hypothèse que cette recherche entend vérifier est qu’il n’y a de cinéma que de seconde main. A partir d’une lecture des thèses de Benjamin sur le langage et la traduction, la reprise et la répétition au principe de toute expression filmique sont étudiées comme les conditions requises pour que puissent émerger des formes radicalement neuves. Les propositions filmiques analysées, en travaillant des formes fragmentaires ou en explorant la dimension polyrythmique du remploi d’images, invitent à envisager l’écran et au-delà l’archive elle-même comme des opérateurs de l’événement. Reposant sur une dimension dialogique et relationnelle de l’image filmique, le montage d’archive est indissociablement poétique et politique. Les formes qu’en proposent les artistes étudiés invitent à considérer d’un même tenant pratique filmique, archéologie des techniques et histoire des peuples. Le remploi d’archives opère un acte duel : manifester ce que le monde a été et dire dans le même temps ce qu’il peut devenir. Le montage d’archives se comprend alors comme un geste exécuté au présent, pour le présent, à travers lequel pointe l’image d’un monde ouvert
Based on the analysis of three contemporary films (X+ by Marylène Negro, Pays barbare by Yervant Gianikian and Angela Ricci Lucchi, The Uprising by Peter Snowdon), this PhD aims to reconsider the found footage practice as a creative act that points to a fundamental potential of cinematographic media to perform a feedback on its own materiality. This PhD states as an initial hypothesis that all cinema is a second hand cinema. Using as a starting point Walter Benjamin’s works on language and translation, the reemployment and the repetition as principle of every filmic expression are considered as essential conditions for the rise of radically new forms. The topic follows three main lines : forms, rhythm and events. Theses issues are tackled in order to highlight that the cinematographic works analysed in this PhD – combining fragmentary forms or exploring the polyrhythmic dimension of found footage - allow to consider the screen and further more, the archive itself, as agents of the event. Based on the dialogic and relational dimension of moving image, the archive editing is inextricably poetic and political. Hence cinematographic practice, archaeology of techniques and political history are considered as fundamental materials by the filmmakers studied in this PhD. The reemployment as used by these artists operate a dual act : show the world as it has been and in the mean time say what this world could become. The archive editing can thus be understood as a gesture performed in the present time, for the present, a gesture that reveals the image of a world full of possibilities

This research paper is written in a first-person narrative style. The style mirrors the practice-led research methodology I have used which privileges process over resolution and acknowledges that making can be both generative and interrogative. More traditional research methods rely on distancing the researcher from production and placing them within an external framework. Practice-led researchers “construct experiential starting points from which practice follows. They tend to ‘dive in’, to commence practising to see what emerges. They acknowledge that what emerges is individualistic and idiosyncratic.” In this paper the reader is taken on a journey from the spaces of the future, present and past in search of the ‘unfound’. The ‘unfound’ is also to some extent ‘unknown’, but occasionally reveals itself in the text through accidents of poetic association between objects, art and literary moments. The space of the paper is also an avian one. It doesn’t interrogate the material egg and bird object motifs in my practical work, but occupies the air to which these forms owe their qualities of transience, agility and fragility. It is this element that exemplifies the space of my works production. Instead of dissecting and pinning down this element (which would be antithetical), I have tried to occupy its spirit. A substantial part of the paper is made up of footnotes and references to exterior sites, elements that in this paper are far from peripheral. They are employed here as literary devices that enable a visual and conceptual illustration of the distance between process and analysis. Alberto Manguel wrote that “all writing depends on the generosity of the reader.” This paper requires a ‘generous reader’ willing to follow an experimental journey. 1. Brad Haseman, ‘Tightrope Writing: Creative Writing Programs in the RQF Environment’ http://www.textjournal.com.au/april07/haseman.htm 2. Alberto Manguel, A History of Reading (London: Flamingo, 1997), 179.

La poésie des prisons est composée dans des circonstances exceptionnelles et pendant des moments pénibles de la vie des poètes : derrière les murs de la prison où la plume est enfermée. Écrire au fond de la cellule permet au poète d’exercer une forme de liberté, liberté d’assembler les mots, de maîtriser le rythme de sa propre vie, cadencée par des horaires et des contraintes qui n’ont pas été choisies. Notre étude est consacrée à cette création poétique carcérale particulière chez quelques poètes français et arabes contemporains. Nous présentons le contexte historique et littéraire dans lequel se situe cette création. Notre travail montre que cette poésie reflète le désir du poète prisonnier d’affirmer son humanité tout en refusant le lent processus de déshumanisation qui accompagne l’incarcération. La création poétique pendant l’incarcération forme la mémoire de l’homme en prison. Les poèmes composés en prison prennent une dimension éthique plus qu’analytique et s’attachent à des expériences vécues plus qu’à des systèmes de pensée où l’engagement des poètes vient au-devant de la scène. Dans une perspective comparatiste, notre travail examine la relation entre la poésie et la politique, représentée dans la poésie des prisons. Les interrogations sociales et humaines qui occupent les poètes prisonniers sont aussi au centre de notre étude tout comme la poétique et les structures du poème-emprisonné. La thèse étudie également les procédés intertextuels qui nourrissent la poésie des prisons : religieuse, mythique et historique. L’intertextualité constitue une caractéristique fondamentale de cette poésie et occupe une place importante dans notre recherche. En bref, la poésie des prisons prouve que les poètes sont vraiment « les maîtres des mots », ceux qui ignorent le « taisez-vous », adressé aux prisonniers, grâce à la hauteur de leur langage poétique qui exprime leurs différents messages. La création poétique pendant l’emprisonnement montre que les poètes prisonniers sont capables de « dire la prison », chacun dans sa singularité, tout en s’engageant dans la Cité où ils vivent
Prison poetry is composed in the midst of exceptional circumstances and during painful moments of the life of poets; behind the prison walls where the pen is imprisoned. Writing at the bottom of the cell allows the poet to exercise a form of freedom, a freedom to put together words, to master the rhythm of his own life, timed by schedules and constraints that are not chosen. The present study is devoted to this particular creation written in prison by a number of contemporary French and Arab poets. It previews the historical and literary context in which this creation is located. It shows that this type of poetry reflects the prisoner poet's desire to assert his humanity while rejecting the slow process of dehumanization that accompanies incarceration. Poetic creation during incarceration shapes the memory of the man in prison. Poems composed in prison adopt an ethical dimension more than analytical and focus on lived experiences more than systems of thought where the commitment of poets comes to the fore. From a comparative perspective, the study addresses the relationship between poetry and politics, represented in prison poetry. The social and human questions that occupy the imprisoned poets are also at the center of the study as the poetics and the structure of the imprisoned-poem. The thesis copes with the intertextual processes that nourish the poetry of prisons in many forms: religious, mythical and historical. Hence, Intertextuality is a fundamental feature of this poetry and will be considered in our research. In short, prison poetry proves that poets are really "the masters of words", those who ignore the "shut up", addressed to prisoners, thanks to the height of their poetic language that expresses their different messages. The poetic creation during imprisonment shows that jailed poets are able to "say prison", each in its own uniqueness, and to get involved in the City to which they belong

碩士
國立中興大學
歷史學系所
97
The tavern is the most popular of restaurants industry in Tang Dynasty. It’s whether in the urban cities and towns, or cottage in the village can be seen everywhere. And it is a drinking and fun while they seek a place to relax the soul. Alcohol is to promote the literature of the Tang literati an important factor, is also a remarkable cultural phenomenon. This dissertation focuses on the culture of tavern which found in literature and history of the Tang Dynasty. Further conduct an in-depth analysis, research and exploration. Relative stability of society, economic growth and improvement of living conditions lead up to people’s increasing attention on the quality of life. Drinking grew to be a particular cultural phenomenon in the Tang Dynasty, the culture of tavern prevailing in society. In the environment of tavern culture, poets exert their utmost to manifest tavern culture, and to present the richness, complexity and profundity of their emotions. The rulers of Tang dynasty were known for their open-mindedness and kept an enlightened way of life. As a result, the Tang dynasty was most successful in Chinese history to absorb and assimilate foreign cultures. The metropolis Chang An was the envoys of various countries, businessman are in an endless stream, international trade and business and cultural exchanges are frequent; while is also various races businessman, the foreigner gathers most places. Consequently, 「Jiujia-Hu」, who lived in cities and sold wine, and accomplishes one of Tang Dynasty tavern culture characteristics. On the side, 「Huji」, who is the foreign land character and style is attracting the poet, and becomes an important literature image in the Tang poem. The main texts applied in this dissertation are literature and history of the Tang Dynasty. After collecting the works related and categorizing all the materials, and made every effort to return to original state Tang Dynasty tavern actual style then.

As a social worker practising in long-term residential care for people living with dementia, I am alarmed by discourses in the media and health policy that construct persons living with dementia and their health care needs as a threatening “rising tide” or crisis. I am particularly concerned about the material effects such dominant discourses, and the values they uphold, might have on the collective provision of care and support for our elderly citizens in the present neoliberal economic and political context of health care. To better understand how dominant discourses about dementia work at this time when Canada’s population is aging and the number of persons living with dementia is anticipated to increase, I have rooted my thesis in poststructural methodology. My research method is a discourse analysis, which draws on Foucault’s archaeological and genealogical concepts, to examine two contemporary health policy documents related to dementia care – one national and one provincial. I also incorporate some poetic representation – or found poetry – to write up my findings. While deconstructing and disrupting taken for granted dominant crisis discourses on dementia in health policy, my research also makes space for alternative constructions to support discursive and health policy possibilities in solidarity with persons living with dementia so that they may thrive.
Graduate
0452
0680
0351
macsuz@shaw.ca