And the Word Was Made Flesh: Anthropomorphism in the poetry of WH Auden examines the reasons for the neglect of Auden’s prolific deployment of anthropomorphism by examining the poetry’s critical reception with a view to understanding what larger purpose, what ‘strategy of discourse’ (Ricoeur 2003, The Rule of Metaphor: 5-9), Auden may have had in mind when he revived a trope traditionally regarded as retrograde. Anxious not to be mistaken for a Modern, yet unable to find a social rhetoric to suit his purposes, Auden elected upon a new style of poetry which questioned the very foundations of language by placing anthropomorphism, the ascription of agency and sentience to voiceless entities, at its centre. The study explores anthropomorphism from historical and theoretical perspectives in an attempt to explain the reasons for its demise, at least, within the academy. This study emphasises the importance Auden placed on the everyday activity of reading, the principal focus for the poet’s ‘cultural theory’ (Boly 1991 and 2004: 138). Auden, 'eager to create a tradition of its own' (Emig 2000: 1), abjuring propaganda, hoped to educate the reader to resist the different ideologies which were vying for ascendency during the 1930s. This study will demonstrate that anthropomorphism, with its capacity to suggest alternative words to ‘re-describe reality’ (Ricoeur 2003: 5), played a pivotal role in Auden’s project for cultural renewal. This study demonstrates that the lasting benefit of Auden’s use of anthropomorphism is to have recognised with prescience what critics now recognise as a 'revolutionary and potently counter-cultural tactic of cultural appropriation' (Paxson 1994: 173), a trope that 'engenders within its semiotic structure a hidden critique of Western culture' (Paxson: 50). Evidence from recent linguistic theory is marshalled in support of the trope’s rehabilitation. This study examines a selection of Auden’s four hundred published poems, and it also offers a provisional taxonomy to initiate the complex process of classifying instances of personification and its co-ordinate tropes in poetry. / English Studies / M.A. (English)

This dissertation aims to provide an insight into English country house fiction by twentieth and twenty-first century authors, such as E.M. Forster, Evelyn Waugh, Iris Murdoch, Alan Hollinghurst, and Sarah Waters. The variety of literary depictions of the country house reflects the physical diversification of the buildings in question, from smaller variants to formerly grand residences on the brink of physical collapse. The country house is explored within the wider social and cultural contexts of the period, including contemporary architectural development. Given the exceptionally evocative and integrating properties that the influential theories of Martin Heidegger and Gaston Bachelard attribute to a house in general, it is unsurprising that the concept of the country house has inspired discussion of such a wide spectrum of topics. Its unique centring quality is echoed in the dense intertextuality prominently marking its literary representations, and enables the successful implementation of various temporal idiosyncrasies, which often set the house apart from the habitual passing of time. Within the scope of contemporary fiction, architecture and poetics of space, the country house accentuates different conceptions of dwelling. Consequently, the literary portrayals of the country house can be...

Cette thèse présente une analyse linguistique d’une sélection de poèmes de John Keats, et plus précisément celle de l’expression et de la verbalisation de l’émotion à travers le langage dans les vingt-six poèmes qui composent le corpus poétique et qui constituent le point de départ de cette recherche. L’approche linguistique privilégiée est une approche cognitive, basée sur les théories de la linguistique cognitive, de la grammaire cognitive, et de la poétique cognitive. La théorie de la métaphore et de la métonymie conceptuelles joue également un rôle important dans les analyses poétiques et grammaticales présentées dans cette thèse. L’émotion est conçue comme embodied (incarnée). Son étude s’appuie sur les travaux des cognitivistes, sur la philosophie et sur les recherches en neurobiologie. L’objectif de cette thèse est d’examiner les manières dont l’émotion s’exprime au sein de la poésie keatsienne par une interrogation approfondie de la langue elle-même, en partant donc du principe que les éléments lexicaux et grammaticaux – et leur signification – qui composent les poèmes s’avèrent essentiels pour bien rendre compte de la traduction poétique de l’expérience émotionnelle. / This thesis presents a linguistic analysis of a selection of poems by John Keats: specifically, the expression and verbalization of emotion by way of language the twenty-six poems that compose the poetic corpus upon which this research is founded. The linguistic approach taken is a cognitive approach, based on the theories of cognitive linguistics, cognitive grammar, and cognitive poetics. Conceptual Metaphor and Metonymy Theory also play an important role in the poetic and grammatical analyses. The approach concerning emotion is an embodied one, based in language, philosophy, and with support from neurobiological research. The goal of this thesis is to examine the ways in which emotion is expressed within Keatsian poetry by a close interrogation of the language itself, thus holding the view that the lexical and grammatical elements—and their semantics—that compose the verses and poems themselves are essential to the salience of the poetic rendering of emotional experience.

Made available in DSpace on 2016-08-03T12:19:45Z (GMT). No. of bitstreams: 1 SamuelSalgado.pdf: 1991337 bytes, checksum: aa40cc73dee533a91dee2ec987957cd5 (MD5) Previous issue date: 2014-11-11 / This research focuses on the historical approach to analyze the biblical text as a historical-social product, from the sociological method. The material arranged along this research is intended to be an aid to understanding some texts from the prophet Jeremiah. Assuming that the text has a link with the society in which it was created and making use of exegetical methodology, carried out a historical-sociological analysis of the word of Yahweh in Jeremiah from 7,1 8,3 as carrier of a social conflict arising from excessive tribute collection on a Judahite society markedly tributary. It seeks, through this, the meaning of the text within the historical setting likely that permeated the social writing. For this, it is necessary to research the primary aspects involving both the book of Jeremiah, especially the controversial caps. 7,1 8,3, as well as the question of modern research study about this magnificent work. It is also worth highlighting the semiotic concept of sociological poetics that seeks to study the causal interaction between literature and the social environment. Moreover, it evaluates the social historical context of the literary unit target of our research, situating it in its likely social and historical context, determining the date, the political scene and the production mode current at this time. Not forgetting, however, the triggering factor of social conflict and the role of religion in this scenario. Furthermore, it examines the meaning of specific texts or completed literary units (pericopes) present in caps. 7,1 8,3, with the assumption the theoretical model of the tributary production mode and the steps of the social-historical exegesis. The social analytical mechanism of the tributary production mode will serve as a tool for analysis of socioeconomic status, such analysis is focused on the external components incorporated in the collection, not in its editorial history, but in its social formation. / Esta pesquisa privilegia o enfoque histórico ao analisar o texto bíblico, como produto histórico-social, a partir do método sociológico. O material disposto ao longo desta investigação pretende ser uma ajuda para a compreensão de alguns textos do profeta Jeremias. Partindo do princípio de que o texto possui um vínculo com a sociedade na qual foi criado e fazendo uso da metodologia exegética, realiza-se uma análise histórico-sociológica da palavra de Javé em Jeremias 7,1 8,3 como portadora de um conflito social oriundo da cobrança excessiva de tributo em uma sociedade judaíta marcadamente tributária. Busca-se, por esse meio, o sentido do texto dentro do provável cenário histórico-social que permeia o escrito. Para isso, faz-se necessária a investigação dos aspectos preliminares que envolvem tanto o livro de Jeremias, sobretudo, os polêmicos caps. 7,1 8,3, como também a questão do estudo da pesquisa moderna acerca dessa magnífica obra. Vale a pena também salientar o conceito semiótico da poética sociológica que procura estudar a interação causal entre literatura e seu meio social. Além disso, avalia-se o âmbito histórico social da unidade literária alvo de nossa pesquisa, situando-a em seu provável contexto histórico social e determinando a datação, o cenário político e o modo de produção vigente nesse período. Não olvidando, contudo, do fator desencadeador do conflito social e o papel da religião nesse cenário. Além do mais, examina-se o sentido dos textos específicos ou unidades literárias concluídas (perícopes) presentes nos caps. 7,1 8,3, tendo como pressuposto o modelo teórico do modo de produção tributário e os passos da exegese histórico-social. O mecanismo socioanalítico do modo de produção tributário servirá como instrumento de análise da condição socioeconômica, centrando-se nos componentes externos incorporados na coletânea, não em sua história redacional, mas sim em sua formação social.

The thesis has been written as part of the AHRC collaborative research project Greek Epic of the Roman Empire: A Cultural History. This project seeks to give the first cultural-historical analysis of the large, underexploited corpus of Greek epic poetry composed in the transformative period between the 1st and the 6th centuries C.E. The thesis focuses on questions of literary identity in one of the most challenging texts from this corpus, the Posthomerica by Quintus of Smyrna (c. 3rd century C.E.). My central contention is that Quintus’ mimicry of Homer represents a radically new formative poetics, suggesting a cultural movement towards mimesis, necromancy and close encounters with the past. After a detailed study of what I term the reanimating culture of imperial Greece (chapter 1), and a comprehensive reanalysis of the compositional techniques of the text (chapter 2), I identify a number of tropes of poetic identity from different ancient literary modes: programmatic proems (chapter 3), memory (4), filiation (5) and temporality (6). I show how Quintus co-opts these themes for his new poetics, to turn the symbolic toolkit of contrast imitation into a defence of writing inter-Homeric epic. This analysis insists on rethinking the nature of the relationship between the poetry of this era and that of previous aesthetic traditions: particularly, I argue against a view of the Posthomerica as Alexandrian, and see it instead pushing back against the Callimachus school of small, new poetry. Ultimately, the thesis aims to show how the Posthomerica could be pivotal for unpinning current critical assumptions about imperial Greek poetry; revealing a palpable shift in tone in the construct of the literary self.

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This master thesis presents a study of the authorship of the Italian writer Elena Ferrante, focusing on hermain concepts “la frantumaglia” and “la smarginatura” in relation to the question of literary truth. Thepurpose is to examine the fascinating interaction between meta reflection and narration through anintratextual reading of her poetics elaborated in La frantumaglia (2013, 2016) and all novels publishedso far. With references to the theories of Sigmund Freud and Jacques Lacan, la frantumaglia and lasmarginatura are interpreted as the unconscious and different mental disorders that characterize the crisisof the female protagonists. The analysis examines literary truth on three literary levels: the verbal,considering the Neapolitan dialect related to the city of Naples as a representation of both maternalorigin and patriarchal oppression, the stylistic, viewing la smarginatura as literary style, and finally, thesymbolic, connected to what Ferrante calls the “symbolic sphere of the authentic”. Furthermore, anintellectual approach to truth is discussed as a contraposition to the others. In applying the methodologyof Michael Riffaterre, the analysis of the stylistic and symbolic truth dimensions shows how theiridiosyncratic traits are extended and transformed throughout the Ferrantian work. The thesis alsosuggests a different interpretation of the intimate relationship between mother and daughter, one of theauthorship’s central themes. Unlike previous studies with a psychoanalytical approach that affirms theexistence of a pre-oedipal phase free from patriarchal intrusion, this analysis demonstrates how Ferranterepeatedly reveals this idea as an infantile fantasy. Instead, the thesis argues that the only real synthesisis found at the level of writing itself, in the merging of the perspectives of the two protagonists in thecycle of L’amica geniale (The Neapolitan novels). This synthesis is further conceived as the authenticidentity of the anonymous author herself.

Thesis called "The reception of poetry poetics of the year 1950 as an attempt of fulfilling Štoll`s ideologically-aesthetical conception" aims, baring in mind a wider cultural-political context, to trace back the extent of indentification of stalin literal critique with Štoll`s ideologically-aesthetical conception soon after its presentation on the business conference of the Czechoslovak Writers` Union in January 1950. Working with selected poetry poetics of that year it is trying to render the specifics of their reception after this speech had been accepted as a final methodological and value indicator of all contemporary literal-crtitic cretive activity. As an initial document for this thesis is therefore Ladislav Štoll`s book {\clqq}Thirty Years of Fight for the Czech Socialist Poetry`` (1950), the extended printed version of Štoll`s report which even contains parts of Jiří Taufer`s speech from the same conference. In three autonomous parts, for all that linked in a way, the thesis tries concretely bring into effect these requested intentions by focusing on books of poetry {\clqq}Zpěv míru`` by Vítězslav Nezval, {\clqq}Píseň o Viktorce`` by Jaroslav Seifert and {\clqq}Máj země`` by Ivan Skála. Being aware of the necessity of taking into account even the non-literal influences it looks into not only their contemporary reception itself but also aboriginal cultural-political circumstances and the poets` status in the hierarchical mosaic of cultural politics of that time. In the overall framework effort of creating complex view of the questions introduced, the thesis` subchapters offer attempts of own literal analysis of discussed poetry works.

Os Discorsi dellarte poetica, ed in particolare sopra il poema eroico são um texto de preceptiva poética relativa ao gênero épico escrito por Torquato Tasso. Sua primeira edição foi publicada em Veneza no ano de 1587, porém sua produção data da década de 1560, durante a qual o poeta dava curso a sua formação humanista junto a letrados proeminentes das academias de Pádua, como Sperone Speroni e Scipione Gonzaga. O texto situa-se no âmbito das discussões quinhentistas acerca do poema épico, em que a retomada dos estudos aristotélicos, em meados daquele século, ensejou a recodificação dos romanzi, narrativas em língua vulgar versificadas sobre os feitos de cavaleiros andantes. A Gerusalemme liberata, obra-prima de Tasso, representa a consubstanciação desse processo. Para este trabalho, ao lado da tradução integral em língua portuguesa das três partes que compõem os Discorsi, apresentamos um estudo monográfico, abrangente, porém não exaustivo, de interfaces possíveis entre o texto italiano e os escritos críticos de alguns dos mais representativos letrados portugueses do século XVII, como Manuel de Faria e Sousa, Manuel Severim e Faria, Manuel Pires de Almeida e João Franco Barreto. Desejamos com isso evidenciar a presença de ideias italianas entre os leitores seiscentistas de Camões e a existência de uma pauta de discussões comum, em Itália e Portugal, referente à constituição do poema épico, considerado, nos séculos XVI e XVII, o mais elevado entre as espécies de poesia. / The Discorsi dell\'arte poetica, ed in particolare sopra il poema eroico are a text by Torquato Tasso regarding poetic precepts of the epic genre. It was first published in Venice, in 1587, although its production dates back to the decade of 1560, a period in which the poet cultivated his humanistic formation along with prominent literates from the academies of Padua, such as Sperone Speroni and Scipione Gonzaga. The text is situated in the scope of 15th century discussions about the epic poem, in which the resume of the Aristotelian studies, in the middle of that century, gave rise to the recodification of the romanzi, versified narratives in vernacular on the achievements of knights-errant. Gerusalemme liberata, Tasso\'s masterpiece, represents the consubstantiation of such process. For this work, along with the literal translation to Portuguese of the three parts that compose the Discorsi, we present a monographic study extensive, but not exhaustive of possible interfaces between the Italian text and the critical writings of some of the most representative Portuguese literates of the 17th century, such as Manuel de Faria e Sousa, Manuel Severim e Faria, Manuel Pires de Almeida and João Franco Barreto. Thus we aim at evidencing the presence of Italian ideas among the 16th century readers of Camões and the existence of a common agenda of discussions, in Italy and in Portugal, concerning the constitution of the epic poem, considered in the 16th and the 17th centuries the most elevated among the species of poetry.

Submitted by Josiane ribeiro (josiane.caic@gmail.com) on 2016-03-31T18:33:53Z No. of bitstreams: 1 0000010277.pdf: 10681362 bytes, checksum: 40daeb71f22545bddd351f80fe5eef3d (MD5) / Made available in DSpace on 2016-03-31T18:33:53Z (GMT). No. of bitstreams: 1 0000010277.pdf: 10681362 bytes, checksum: 40daeb71f22545bddd351f80fe5eef3d (MD5) Previous issue date: 2013 / Na linha de pesquisa da Educação Ambiental Não Formal exploramos as seguintes questões: como acionar transversalidades capazes de produzirem novas perspectivas e valores sobre a vida? Como transcender o uso do vídeo em educação para além do registro que lhe é intrínseco? A partir delas fomos promovendo o caminho cartográfico de nossa investigação, numa perspectiva epistemológica fundamentada na Análise Institucional e na Esquizoanálise; realizamos microintervenções com o objetivo de promover processos de autoanálise e autogestão, através de uma metodologia pensada para cartografar os devires e clinamens entre os grupos envolvidos na pesquisa. Utilizamos o diário de pesquisa, questionários, fotografias e recursos audiovisuais, oficinas e exposições artísticas interventivas para promover a produção dos dados junto aos grupos envolvidos, assim como uma intervenção final em um abrigo de menores. As práticas audiovisuais foram desenvolvidas com o objetivo de promover processos criativos e desencadear os clinamens – desvios – necessários para suscitar nos participantes novos devires e o espírito do grupo-sujeito. Entre os resultados figuram os vídeos realizados pelos participantes com base em processos de criação ético-estéticos em Educação Ambiental e constituem poéticas audiovisuais produzidas experimentalmente no Laboratório Audiovisual de Pesquisa em Educação Ambiental – LAPEA. O laboratório foi um recurso importante quanto ao suporte técnico e ao desenvolvimento conceitual de uma Educação Ambiental Biorrizomática. Ela propõe integrar a vida no rizoma, de modo que a Ética da Reverência pela Vida promova esta conexão entre os animais de diferentes espécies e as diversas formas de vida, além do universo de elementos inanimados que constituem nossa existência. Os diversos devires e clinamens potencializados ao longo da pesquisa, cartografados durante o processo, assim como as produções audiovisuais e as oficinas inventadas constituem-se em resultados fundamentais na promoção dessa Educação Ambiental para o cuidado, a alteridade e a solidariedade no rizoma da Vida. / Within research line of Nonformal Environmental Education the follow questions are explored: How to incite transversalities able to produce new perspectives and values about life? How to transcend the use of video in education beyond the record that it is intrinsic? From these questions was developed the way of our cartographic research, an epistemological perspective based on Institutional Analysis and Schizoanalysis. Were performed micro interventions with goal to promote self-analysis and self-management processes through a methodology to mapping becomings and clinamens among groups involved at research. Were used the daily research, questionnaires, photographs, audiovisual resources, workshops and art exhibitions to promote the production of interventional data together involved groups. In addition was made a final intervention at minors under. The audiovisual practices were developed with goal to promote creative processes and trigger the clinamens – deviatons – needed to awake in participants new becomings and the spirit of subject group. Among the results are contained videos produced by participants by processes based on ethical- esthetic creation in Environmental Education. These results are poetic audiovisual productions made experimentally at Audiovisual Laboratory Research in Environmental Education (LAPEA). The laboratory was an important resource relative to technical support and conceptual development of one Biorhizomatic Environmental Education. This education proposes to integrate the life at rhizome so that the Ethics of Reverence for Life promote this connection between animals from different species and several forms of life, beyond the realm of inanimate elements that constitute our existence. The several becomings and clinamens potentiated during the research, mapping during process, as well as audiovisual productions and workshops invented are the fundamental results at promoting these Environmental Education for care, otherness and solidarity in the rhizome of Life. / En la línea de pesquisa de La Educación Ambiental No Formal, exploramos las siguientes cuestiones: cómo accionar transversalidades capaces de producir nuevas perspectivas y valores sobre la vida? Cómo trascender el uso del vídeo educativo más allá del registro que le es intrínseco? Partiendo de ellas, fuimos promoviendo el camino cartográfico de nuestra investigación en una perspectiva epistomológica fundamentada en el Análisis Institucional y el Esquizoanálisis; realizamos micro-intervenciones con el objetivo de promover procesos de autoanálisis y autogestión através de una metodologia pensada para cartografar los devenires y clinamens en los grupos envolvidos en la investigación. Utilizamos diários, de campo, cuestionarios, fotos y recursos audiovisuales con talleres y exposiciones artísticas interventivas para promover la producción de datos con los grupos envolvidos, así como una intervención final en un asilo de menores. Las prácticas audiovisuales se desarrollaron con el objetivo de promover procesos creativos y desencadenar los clinamens – desvios – necesarios para suscitar en los participantes nuevos devenires y el espíritu de los grupos-sujeto. Entre los resultados están los vídeos realizados por los participantes en base a procesos de creación ético-estéticos en Educación Ambiental y constituyen poéticas audiovisuales producidas experimentalmente en el Laboratorio Audiovisual de Pesquisa en Educación Ambiental – LAPEA. El laboratorio fue un recurso importante para el soporte técnico y el desarrollo conceptual de una Educación Ambiental Biorizomática, que se propone integrar La vida en El rizoma, de modo que La Ética de La Reverencia por la Vida promueva conexiones entre animales de diferentes espécies y otras formas de vida, más allá del universo de elementos inanimados que constituyen nuestra existência. Los diferentes devenires y clinamens potencializados en la investigación, cartografiados en el proceso, así como las producciones audiovisuales y los talleres inventados constituyen resultados fundamentales en la promoción de esa Educación Ambiental para el cuidado, la alteridad y la solidaridad en el rizoma de la Vida.