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A computationally-assisted analysis was undertaken of Tahitian oral poetry transcribed in the early 19th century, with the aim of discovering its poetic organization. An automated pattern detection process attempted to recognize many of the organizational possibilities for poetry that have been documented in the literature, as well as be open to unanticipated varieties. Candidate patterns generated were subjected to several rounds of manual review. Some tasks that would have proved difficult to automate, such as the detection of semantic parallelism, were pursued fully manually. Two distinct varieties of meter were encountered: A syllabic counting meter based upon a colon line, and a much less common word stress counting meter based upon a colon line or a list item. The use of each meter was ubiquitous in the corpus, but somewhat sporadic. Word stress counting meter was typically applied to lists, and generally co-occurred with patterns of syllabic counting meter; perhaps in order to enhance metrical effect through an addition of rhythm. For both meters, counts were regulated by an external pattern, wherein they were observed to repeat, increment, form inverted structures, or group into alternating sequences. There appeared to be few limitations as to the possibilities for a pattern‟s starting count or length. Patterns were found to juxtapose freely, as well as alongside unpatterned counts. According to Nigel Fabb and Morris Halle, syllabic counting meter is only otherwise encountered in a style of Hebrew poetry from the Old Testament (Fabb and Halle 2008:268, 271, 283). Word stress counting meter may be unique to Tahitian poetry. The colon also functioned as poetic line for purposes of sound parallelism, which manifested itself in patterns of simple assonance, simple consonance, and complex patterns that combined simpler ones of assonance, consonance, and parallel strings of phonemes. Although sound patterns most often spanned lines, they were sometimes constrained to within a line. Occasionally, they were arranged into inverted structures, somewhat analogous to those noted for counting meter. Some sound patterns were contained within names and epithets, and perhaps served as recurring islands of parallelism. Syntactic parallelism was common, especially in the organization of lists. Occasionally, its application was suggestive of canonical parallelism. Items of syntactic frame lists were often arranged so as to assist patterns of counting meter. A syntactic frame‟s variable elements often belonged to a single semantic category for which there seemed to be no restriction, and which could represent any taxonomic level. There appeared to be complete freedom in regards to the arrangement of syntactic frame patterns, and it was common for several to follow one another in unbroken succession. There is evidence that some of the corpus poetry was memorized. Other evidence suggests that a capacity existed, and perhaps continues to exist, of poetic composition-in-performance.

This dissertation is an exploration of the strain of Buddhist thought and practice running through American Modernism and American Modernist Poetry. I examine the works, both poetic and critical, of two authors, Allen Ginsberg and Norman Fischer. I explore Allen Ginsberg's relationship with Buddhism, as it changed throughout his life, looking at key poems in his early career, such as "Sakyamuni Coming Out of the Mountain," and "The Change: Kyoto to Tokyo Express." I also examine "Howl" in light of Ginsberg's early experiences with Buddhism and other spiritual forms. I consider some of the poetics and politics of "Howl" as an example of the both the poetic space and the mind Ginsberg prepared for his later spiritual and poetic life. I also theorize the connections between the Buddhist attitude that Ginsberg cultivates and the modernism of Ezra Pound, who eschewed Buddhist ideas and terms in his re-working of Ernest Fenollosa's well-known essay, "The Chinese Written Character as a Medium for Poetry." I examine the way Ginsberg considered Pound's Cantos as a model of a mind, in the act of the real work of thinking. I end my treatment of Ginsberg's work with a reading of "Father Death Blues" which Ginsberg considered the "culmination" of his Buddhist training. Looking at Norman Fischer, I focus closely on the Zen aspects of his writing, spending special attention on notions of the koan, as well as things he says (in his Zen lectures and elsewhere) about intersections between Zen mind perception models and models of mind that come via the practices of psychoanalysis. I work to explain how Fischer situates in terms of the L=A=N=G=U=A=G=E poets and other avant-garde poetic movements. I explore how Fischer's innovative style(s) work within his poetic practices in "Praise," an extended journal/diary poem from Precisely The Point Being Made and the Cage/MacLow practices of releasing of ego and agency in writing methods. I also look at how such journal/diary poems compare to other poetic "mind models" within American Modernism. My chapters on Fischer culminate in a discussion, with significant close readings, of his book Success.

The poetics of space is a very interesting field, which has been so far marginalized from the theoretic point of view in comparison with other types of the poetics of literary work. Fragmentary information devoted to this theme has often been hidden in theoretic works that applied the poetics of space to some specific literary works. To be able to start focusing myself on the poetics of space in fairy tales, I had to lay the basis for the poetics of space in the first part of my thesis. The basis is built by the chapters in which I was concerned with the poetics of literary work and where I collected, organized and made transparent actual theoretic information about the poetics of space and its parts, space and place. I used these chapters for the specification of the terms used in my thesis. That specification enabled me to focus on the poetics of space in the fairy tales in the second part of thesis. As my research material I chose Grimms' fairy tales and eight Erben's fairy tales. I used this material to verify the relevance of particular hypotheses. In terms of my research I concerned on topics such as the poetics of space from the wider and the closer point of view, the boundaries of the fairy tales' space, the description and the layout of the space, the main and the side character in the...

周瑞冰. / "2008年1月". / 論文(哲學碩士)--香港中文大學, 2008. / 參考文獻(p. 180-188). / "2008 nian 1 yue". / Abstract also in English. / Zhou Ruibing. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2008. / Can kao wen xian (p. 180-188). / Chapter 第一章 --- 緒言 --- p.001 / Chapter 第一節 --- 硏究目的及方法 --- p.001 / Chapter 第二節 --- 前人硏究綜述 --- p.002 / Chapter 第二章 --- 吳喬生平、交遊及著述 --- p.006 / Chapter 第一節 --- 吳喬生平及交遊 --- p.006 / Chapter 甲、 --- 吳喬生平 --- p.006 / Chapter 乙、 --- 吳喬交遊考 --- p.009 / Chapter 第二節 --- 吳喬著述考 --- p.024 / Chapter 第三節 --- 《圍爐詩話》與《逃禪詩話》成書考 --- p.036 / Chapter 甲、 --- 關於成書先後問題的兩種觀點 --- p.037 / Chapter 乙、 --- 《逃禪》後於《圍爐》新證 --- p.051 / Chapter 丙、 --- 小結 --- p.062 / Chapter 第三章 --- 吳喬詩學淵源 --- p.064 / Chapter 第一節 --- 許學夷 --- p.064 / Chapter 甲、 --- 重視辨體 --- p.065 / Chapter 乙、 --- 以「才情」補充許學夷之說 --- p.067 / Chapter 第二節 --- 虞山詩派 --- p.069 / Chapter 甲、 --- 受錢謙益詩論的影響 --- p.070 / Chapter 乙、 --- 受馮班詩論的影響 --- p.074 / Chapter 丙、 --- 小結 --- p.079 / Chapter 第三節 --- 賀裳 --- p.079 / Chapter 甲、 --- 對唐詩的評價 --- p.080 / Chapter 乙、 --- 對宋詩的評價 --- p.082 / Chapter 第四章 --- 吳喬詩論探討 --- p.086 / Chapter 第一節 --- 詩論基調：「以意爲主」與「詩中有人」 --- p.086 / Chapter 甲、 --- 「以意爲主」與「詩中有人」的定義 --- p.087 / Chapter 乙、 --- 意的善與真 --- p.088 / Chapter 丙、 --- 意與詞的關係 --- p.090 / Chapter 丁、 --- 意的明顯與隱僻 --- p.092 / Chapter 戊、 --- 意的解讀 --- p.095 / Chapter 己、 --- 小結 --- p.096 / Chapter 第二節 --- 比興觀 --- p.097 / Chapter 甲、 --- 吳喬重視比興的原因 --- p.098 / Chapter 乙、 --- 吳喬對比興的定義 --- p.101 / Chapter 丙、 --- 比興與詩歌傳統 --- p.103 / Chapter 丁、 --- 以比興詮釋詩歌 --- p.103 / Chapter 戊、 --- 以比興論李義山詩 --- p.111 / Chapter 己、 --- 對吳喬比興觀的評價 --- p.117 / Chapter 庚、 --- 小結 --- p.119 / Chapter 第三節 --- 詩體觀 --- p.119 / Chapter 甲、 --- 詩體流變的總體論述 --- p.120 / Chapter 乙、 --- 各詩體的起源、流變及特徵 --- p.124 / Chapter 丙、 --- 師法問題：以「正體」爲學習對象？ --- p.145 / Chapter 丁、 --- 小結 --- p.149 / Chapter 第四節 --- 唐詩分期觀 --- p.150 / Chapter 甲、 --- 歷代唐詩分期的看法 --- p.151 / Chapter 乙、 --- 吳喬對前代「四唐說」的批評 --- p.155 / Chapter 丙、 --- 吳喬「五時說」 --- p.161 / Chapter 丁、 --- 小結 --- p.174 / Chapter 第五章 --- 結語 --- p.176 / 參考書目 --- p.180 / 附錄 / Chapter (一） --- 吳喬生平資料 --- p.189 / Chapter (二） --- 吳喬年表 --- p.190 / Chapter (三） --- 《西崑發微》及《圍爐詩話》之序跋 --- p.206 / Chapter (四） --- 《逃禪詩話》標點本 --- p.210 / Chapter (五） --- 《逃禪詩話》與《詩源辯體》對勘表 --- p.245

The topic of this diploma thesis is ?Physiognomically we have still been passers - by. Travelling as an intercultural experience in the work of Christoph Ransmayr?. This thesis is divided into seven basic parts. The first four chapters describe theoretical background of the thesis which is the Postmodernism, the Philosophy of the Postmodernism, the Interculturality and the Theory of Essays. The next chapter reports about the poetics of the narration and the aim of the last two parts is to analyze the books "Geständnisse eines Touristen" and "Der Weg nach Surabaya". The ambition of this diploma thesis is to research the relationship of Christoph Ransmayr to travelling and search for the influences of the travelling poetics in his two concrete books.

C’est à l’écart de tous et de tout que s’est toujours tenu Marcel Moreau, écrivain aux chairs habitées d’un corps verbal. Son œuvre en témoigne par sa monstrueuse densité: plus d’une soixantaine de livres en cinquante années. L’objet de cette thèse sera de définir sa poétique du corps tout en prenant en compte ses refus du classifiable et la mise en place d’une mythologie intime le dépassant. Engageant directement le lecteur, son écriture l’insère dans une relation tragique au dehors et au-dedans de lui-même, rendu à un réel libéré de toute passivité. Une approche biographique s’impose donc en ce qu’elle implique étymologiquement le vivant dans l’écriture. Aussi, si son utilisation de la langue française s’ancre profondément dans son organisme, elle forme une voix de l’Étrangeté disloquant toute idée de frontière – littéraire, géographique, générique, ou physique. Le langage devient réappropriation du pulsionnel, réhabilitation de ce qui est perçu comme irrationnel. Rendre leur force aux mots invite à inverser les perspectives et à réaliser que c’est la perception de l’étrange, le concevoir autre, qui ouvre à ce que l’on est, à la complexité panique du monde. Les instincts éclairés, c’est-à-dire acceptés en tant qu’origine des tremblements de la chair et de la pensée, relèvent plus d’une cruelle lucidité face aux chaos de la nature et de soi, que d’un simple amas incontrôlable et mauvais. Lorsque la parole renoue avec sa violence, qui est puissance fondatrice, elle nous renvoie aux structures mythiques engendrant nos littératures, mais aussi à la place de l’écrivain, de la parole poétique faisant lien et liane avec nos représentations du vivant au sein de la communauté. / Marcel Moreau has always stood aside from the dominant thought of his age. He is incarnated and possessed by words, what he calls his “verbal body”. His work indeed shows a monstrous density: more than sixty books in fifty years. This thesis will attempt to define the poetics of the body while taking into consideration the building up of an intimate mythology that goes beyond himself, and beyond his rejection of any label. His writing directly engages the reader and integrates him in a tragic relation with his inner and outer self, sending him back into a reanimated passivity reality. A biographical approach is necessary because the Living is etymologically implied in the act of Writing. Thus, if the way he uses French is deeply embedded in his own organism, it creates a “voice of Strangeness” that dislocates the mere idea of frontiers – in literature, geography, genres, or even biology. Impulses finally express themselves through this poetical language, along with what is considered irrational. Words are living things whose strength can utterly change our cognitive structures. In Marcel Moreau’s mind, one is able to open up to what he is and to the panicked complexity of the world surrounding him thanks to his perception of strangeness and otherness. The writer aims at enlightening his instincts, as they are the origin of trembling flesh and trembling thought, even though they carry a charge of cruel lucidity within them. When speech bonds with its original violence, it brings us back to the mythical structures that created our literatures, but also to the condition of the writer and to the poetical language that binds our community together with its multiplicities.

This project explores visually experimental poetry as a particular trend in Caribbean poetry since the 1970's. Although visual experimentation in Caribbean poetry is immediately recognizable ??? for example, its play with font styles and sizes, its jagged margins, its division of the page into multiple discourse spaces, its use of images ??? little critical attention has been paid to the visual qualities of Caribbean poetry. Instead, definitions of Caribbean poetry have remained focussed upon oral/aural aesthetics, excluding its use of and contribution to late 20th century experimental poetic practice. By focussing on the poetry of Shake Keane, Claire Harris, Marlene Nourbese Philip, Kamau Brathwaite, and LeRoy Clarke, I bring post-colonial literary criticism into discussion with contemporary debates regarding visual poetic practice in North America. In so doing, this project values Caribbean visual poetry both for its expression of Caribbean cultural experience and for its contributions to broader experimental poetry movements. I argue that visual experimentation functions to disrupt traditional linear reading processes, which thereby allows poets to perform the flux of time and space in post-colonial contexts. Furthermore, such disruption of linear reading practices, often manifested by the positioning of multiple discourses on one page, serves to create a polyvocal discourse that resists patriarchal and colonialist power structures. Valuing the visual qualities of Caribbean poetry as signifying elements, this dissertation explores the aesthetic and social implications of inscription and visual design in Caribbean poetry.

This thesis is focused on poetics of places and space in the novels of Czech author Ota Filip (*1930). The analysis of individual spaces displayed in Filip's work wants to demonstrate the importance of these places for the narrative construction of the autor's novels. This thesis aims to show the importance of displayed space and individual spaces for the overall sense of the fictional world in the Filip's work. The methodological basis of the thesis is the study of the Polisch scientist Janusz Sławiński: Space in Literature: Basic Division and Introductory Commonplace (2002 [1978]). Research of space displayed in the literary work based on the text of a particular novel.

Desfuncionalizar as linguagens desfuncionalizar a cultura desfuncionalizar a vida. esta frase, com que a professora lucrécia ferrara sintetizou minha pesquisa, orientou a elaboração deste trabalho, iniciado pela leitura das obras fonte (1917), de marcel duchamp, e a traição das imagens (1928), de rené magritte. tais obras, como jogos de linguagens que são, como textos profundamente conscientes de suas formação e relação com os demais de sua cultura, contribuíram para formar as questões teóricas que comporiam a seqüência do trabalho, seu corpo principal. a relação das linguagens com o mundo, com a cultura pregressa que as conforma, das linguagens entre si, no interior desta cultura, e suas possibilidades de desdobramento, seus funcionamentos e processos, foram estudados, a partir de referências bibliográficas vindas da semiótica, da lingüística, da teoria e crítica de arte e, sobretudo, da filosofia (destaque para as obras de jacques derrida, gilles deleuze e félix guattari, e roland barthes; com contribuições mais pontuais, como as noções de carnavalização e intertextualidade de mikhail bakhtin, a dominância nas funções de linguagem em roman jakobson, as obras de charles peirce e ludwig wittgenstein, as análises do riso, por henri bergson, e do jogo, por johan huizinga), bem como de exemplos literários (destacadamente os livros de lewis carroll das aventuras de alice e o dom quixote, de miguel de cervantes). ao empobrecimento de nossas escrituras (nossas linguagens cultura e vida, num movimento contínuo e complexo que nos impede assim separá-las), à sufocação de suas potências por suas formas consagradas e suas funções previstas, à estagnação que a funcionalidade racionalista impõe às coisas e ao nosso estar entre elas, sob a forma de uma língua estável e definida num mundo de coisas idem, o trabalho encontra a proposta de uma escritura plenamente consciente de si, de sua constituição, seu desenvolvimento, suas escolhas, seus diálogos, sua inserção em seu contexto, e do espaço aberto entre o texto que ela se faz e o texto que fariam as normas e hábitos da linguagem para comunicar; uma escritura permanentemente atenta ao jogo, atenta ao seu corpo e às figuras que pode criar neste espaço vital que abre; uma escritura que não se esgote num fim, não se apague na repetição de um modelo, nem se necrose numa verdade; escritura poética em cuja ocorrência se abram possibilidades de construção de sentidos, para além dos significados cristalizados; irrupção do devir-música da escritura, do desfuncional (que não se resolve nem se resume na dualidade função e disfunção phármakon: remédio e veneno), dos funcionamentos patológicos, escritura apaixonada, saturação do texto, transbordamento, na desconstrução do funcionalismo de nossa cultura e de suas fronteiras. / to defunctionalize languages to defunctionalize culture to defunctionalize life. this sentence, with which professor lucrécia ferrara synthesized my study, guides this dissertation, initiated with a reading of the works fountain (1917), by marcel duchamp, and the treachery of images (1928), by rené magritte. these works, being languages games, texts profoundly conscious of their formation and their relationships with the others from their culture, have helped form the theoretical issues that would constitute the sequence of the text, its body. languages relationships with world, with the previous culture that form them, relationships among languages, within this culture, and their spreading possibilities, their functioning and procedures, were studied, with a bibliography that includes semiotics, linguistics, art theory and criticism and, above all, philosophy (especially the works of jacques derrida, gilles deleuze and félix guattari, and roland barthes; with more specific contributions, such as the notions of carnivalization and intertextuality from mikhail bakhtin, the dominance in language functions from jakobson, the works of charles sanders peirce and ludwig wittgenstein, and the analysis of laughter, by henri bergson, and of ludicity, by johan huizinga), as well as literary examples (particularly the books of alices adventures by lewis carroll, and don quixote, by miguel de cervantes). to the impoverishment of our writings (our languages culture and life, in a complex and continuous movement that prevent us to separate them), to the suffocation of their potentialities by usual forms and provided functions, to the stagnation that rationalist functionality imposes on things and on our being among them, in the form of a stable and defined language in a world compound of things idem, this work proposes a writing amply conscious of itself, of its constitution, its developments, its choices, its dialogues, its insertion in its context, and of the space created between the text it makes itself and the one which would be made by the habits and norms of the language directed to communicate; a writing permanently attentive to the game, aware of its body and the figures it can create in the vital space that it opens; a writing not depleted by ends, not obliterated by the repetition of a model, not necrosed by a truth; poetic writing in whose happening new possibilities for the construction of sense are created, beyond crystallized meanings; eruption of writings becoming-music, the defunctional (that cannot be resolved into neither reduced to the duality function and dysfunction phármakon: medicine and poison), eruption of pathological functioning, passionate writing, saturation of the text, overflow, deconstruction of our cultures functionalism and its borders.