Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2014-09-18T10:43:04Z No. of bitstreams: 2 Dissertacao Maria das D S de Barros.pdf: 903137 bytes, checksum: 64474d362c75a3e484576177c508756e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2014-09-18T12:34:03Z (GMT) No. of bitstreams: 2 Dissertacao Maria das D S de Barros.pdf: 903137 bytes, checksum: 64474d362c75a3e484576177c508756e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-09-18T12:34:03Z (GMT). No. of bitstreams: 2 Dissertacao Maria das D S de Barros.pdf: 903137 bytes, checksum: 64474d362c75a3e484576177c508756e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-04-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Divided into three chapters, this dissertation has as its object of study the poetry of Orides Fontela. The project was conducted in order to grasp the conjuto of five books: Transposition (1969), Helianto (1973) Alba (1983) Rosacea (1986) and (1996) look at the representations of the work of Fontela, analyzing them as constituents a writing project based on the phenomenology of the gaze. At first try to locate fonteliana writing within a tradition of writers whose writing is marked by philosophical reflection order. We then present the reflections developed by Novaes, Bosi and Merleau-Ponty on the vision in Western thought. Finally, we come to the essential object of the research, the analysis of a corpus of poems that explore, in different ways and the perception of the sensible world. Using theoretical support considerations about perception, designed by phenomenology, we expect to realize and analyze the elements constituting a poetic look at the work of the author. / Dividida em três capítulos, esta dissertação tem como objeto de estudo a poesia de Orides Fontela. O projeto foi realizado no sentido de apreender, no conjunto dos cinco livros: Transposição (1969), Helianto (1973) Alba (1983) Rosácea (1986) e Teia (1996), as representações do olhar na obra de Fontela, analisando-os como constituintes de um projeto de escrita fundado na fenomenologia do olhar. Em um primeiro momento, procuramos situar a escrita fonteliana em uma tradição de escritores cuja escrita é marcada pela reflexão de ordem filosófica. Em seguida, apresentamos as reflexões desenvolvidas por Novaes, Bosi e Merleau-Ponty acerca da visão no pensamento ocidental. Por fim, chegamos ao objeto essencial da pesquisa, a análise de um corpus de poemas que exploram, por vias diversas, a percepção do mundo sensível. Usando como suporte teórico as considerações acerca da percepção, concebidas pela fenomenologia, esperamos perceber e analisar os elementos representativos de uma poética do olhar na obra da autora.

Our thesis sails through the Castro Alves' poem The slave ship, that incorporates itself in a romantic tradition by means of the dialog established with Heinrich Heine, Gonçalves Dias, Pedro Luiz and a minor poets pleiad, manifesting the poetry epos vicissitudes dedicated to the cause of the slaves freedom. The dialectic nature from this poetic reveals itself as in the antagonist relations that delays the way that the lyric subject understands the world under the approximation and removal perspective, as in the tragic scene representation that the figures of the scenic picture mimetic the world under a Benjamin interpretative way of a mourned game. The literature genders configure themselves as optical artifacts that allow to understand the literature text as images profusion which every figure appear drunkard inside the ship fog marked by the imperative of the whip violence and the bodies dancing movement. In the fruition of the translator task, as Flávio Kothe points, we try to understand the allegoric nature of the words and images that inscribe themselves in the deep fog of the libertarian rhetoric of Castro Alves's romanticism. / Nossa tese navega pelo poema O navio negreiro de Castro Alves, que se incorpora tradição romântica mediante o diálogo estabelecido com Heinrich Heine, Gonçalves Dias, Pedro Luiz e uma plêiade de poetas menores, manifestando as vicissitudes do epos da poesia dedicada à causa da libertação dos escravos. A natureza dialética dessa poética se revela tanto na manifestação das relações antagônicas que perpassam a forma como o sujeito lírico compreende o mundo sob a perspectiva da aproximação e do distanciamento, quanto na representação da cena fatídica em que as figuras do quadro cênico mimetizam o mundo sob a forma interpretativa benjaminiana de um jogo de enlutados. Os gêneros literários configuram-se como artefatos ópticos que permitem entender o texto literário como uma profusão de imagens em que todas as figuras aparecem ébrias no interior dos nevoeiros de um navio marcado pelo imperativo da violência do chicote e do movimento dançante dos corpos. No usufruto da tarefa de tradutor, como aponta Flávio Kothe, procuramos entender a natureza alegórica das palavras e das imagens que se inscrevem nos densos nevoeiros da retórica libertária do romantismo de Castro Alves.

As operações da memória, a introspecção e a auto-representação são alguns tópicos da chamada escrita intimista, que vem desempenhando papel importante na poesia portuguesa, desde meados do século XIX. A partir de um grupo de poetas precursores, entre os quais se incluem Cesário Verde (1855/1886) e António Nobre (1867/1900), o estilo da poesia intimista continuou nos novecentos através de nomes como os de Camilo Pessanha (1867/1926), Fernando Pessoa (1888/1935), Mário de Sá Carneiro (1890/1926). Sophia de Mello Breyner Andresen (Porto, 1919/ Lisboa, 2004), foi uma das três mais importantes vozes poéticas portuguesas da segunda metade do século XX, ao lado de Jorge de Sena (1919/1978) e de Eugénio de Andrade (1923/2005). Ela sempre apresentou recorrentes, em seus 14 livros de poesia, (o primeiro, Poesia I, de 1944), muitos dos temas caros ao intimismo: o choque entre o mundo exterior e o eu poético, a rememoração como mergulho interior, a solidão, o sofrimento provocado quando o sujeito recolhe-se dentro de si mesmo. Além disso, ela privilegia, num estilo muito particular, determinados espaços ligados à intimidade, como a casa e, em especial, o quarto. Nossa dissertação divide-se em três capítulos - O Quarto e o Silêncio, O Quarto, a Noite e o Vazio, O Quarto Como Prisão - que enfocam o aspecto intimista da obra poética de Sophia. A discussão é centrada no sujeito poético, analisando sua posição frente ao mundo e à vida, no contexto fragmentado do pós II Guerra. Sempre na perspectiva humana de nossa finitude, frente ao horizonte da eternidade. / The so-called Intimate Poetry School flourished in Portugal by the middle of the 19th Century, throught a group of very particular poets, like Cesário Verde (1855/1886) or António Nobre (1867/1900). Due to other outstanding poets, Camilo Pessanha (1867/1926), Fernando Pessoa (1888/1935) and Mário de Sá Carneiro (1890/1926), among others, intimate style continued on its way through the 20th century. Sophia de Mello Breyner Andresen (1919-2004) is recognized as one of the three most important Portuguese poets of 20th Century\'s last half, the other two being Jorge de Sena (1919/1978) and Eugénio de Andrade (1923/2005). She wrote 14 poetry books since her first one, Poesia I, published in 1944. In most of her poems, Sophia de Mello Breyner Andresen dealed with some of the innermost aspects of the poetic self, such as solitude, the remembrance of past experiences, or the aggressiveness from the outside world. She described, in several poems, the sleepingroom, this space that is a typical intimate retreat for the self. Her poetry is always related to the human condition, in the sense that her poems encompass the joys, the sufferings and all the emotions related to our state of being human, that is, being finite and mortal, when compared to a horizon of eternity. Also, she achieved a very intimate way of describing the self\'s fortunate past experiences, as related to his deceptive present life. Our Master\'s research, The room used as a symbol of intimate questions, in Sophia de Mello Breyner Andresen\'s poetry, deals mainly with three Intimate Poetry aspects that the room may present in her poems: The Room and the Silence; The Room, the Night and the Void; The Room as a Prison.

The thesis concerns an aspect of poetic imagination in the works of 17th century metaphysical poets and examines the way these poets were influenced by the Church of England. In addition, it identifies elements of Anglican spirituality in their works. The first section analyzes the concept of Christian spirituality and the specifics of Anglican spirituality. Anglican spirituality is closely linked with the historical origins and development of the Anglican Church. In the second section, there is a description of poetic imagination and the relationship between poetics and spirituality. The thesis describes the concept of so-called metaphysical poets. The works of three selected authors are examined to identify poetic expressions of general, theological issues. Theological themes emphasized in Anglican spirituality are compared with those expressed in metaphysical poetic imagination. The aim of this thesis is to find the role of poetics in general, theological discourse.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2015-02-02T10:58:51Z No. of bitstreams: 2 Dissertacao -Pablo de Regino Araújo Pinto - 2014.pdf: 11386149 bytes, checksum: 5a1337b3308de740454776dd2c2f1112 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-02-04T14:46:35Z (GMT) No. of bitstreams: 2 Dissertacao -Pablo de Regino Araújo Pinto - 2014.pdf: 11386149 bytes, checksum: 5a1337b3308de740454776dd2c2f1112 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-02-04T14:46:35Z (GMT). No. of bitstreams: 2 Dissertacao -Pablo de Regino Araújo Pinto - 2014.pdf: 11386149 bytes, checksum: 5a1337b3308de740454776dd2c2f1112 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-04-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research addresses the poetic production in interactive media. The research touch some productions in art and technology, as well some features in artistic works, such as interactivity, immersion, agency, indeterminacy and emergency, concepts that form the basis for discussion of SobreVoos installation, created from technologies available that provides the interactor the vision from the point of view of a remotely controlled flying device. Using a phenomenological hermeneutic, this research discusses the concepts and explores them, in artwork attached to the object of visual production, the use of drones. The poetic discourse is privileged, revealing the strategies that route interactor for sensitive experience. Finally technical information production are presented, as well as the relationship between technical and poetic aspect concerned. / Esta pesquisa sobre a produção poética em mídia interativa percorre algumas produções em arte e tecnologia, abordando características presentes em obras artísticas, como interatividade, imersão, agência, indeterminação e emergência, conceitos que formam a base para discussão da instalação SobreVoos, criada a partir de tecnologias disponíveis, que proporcionam ao interator a visão do ponto de vista de um aparelho voador controlado remotamente. Utilizando a hermenêutica fenomenológica, a pesquisa discute esses conceitos e os explora em trabalhos artísticos, vinculados ao objeto da produção visual de mestrado, o uso de drones. O discurso poético é privilegiado, desvelando as estratégias que encaminham o interator para a experiência sensível. Por fim são apresentadas informações técnicas da produção, bem como a relação entre o aspecto técnico e poético em causa.

Although there is quite a difference in time between the writing of the Hebrew Bible and the carving of the Ugaritic texts, researchers are still discovering similarities between the two text corpuses (for example new word pairs, literary phrases and a common cultural background). In this dissertation Psalm 82 was examined together with the Kirtu story. O’Callaghan (1953) and Van Zijl (1972) pointed out similarities between the two texts, previously. Yet these similarities were not investigated in a structured way and there existed the possibility that more similarities (and also dissimilarities) existed between the texts. Psalm 82 and selected sections of the Kirtu story are analysed using the text immanent method. The known similarities are reaffirmed and new ones identified. To avoid analysing the whole Kirtu story, it is first summarised. Thereafter the writer analyses the following passages in depth: CTA 15 ii 1-iii 19; CTA 16 i 1-23; CTA 16 ii 96-iii 17; CTA 16 v 1-52 and CTA 16 vi 25-58. After the respective analyses, similarities on the linguistic and conceptual levels are recorded. Attention is also drawn to the respective environments in which the two texts originated. Consequently, possible elements, consisting of similar cultural goods, are given prominence. On linguistic level various words, which occur in both texts, are recorded. Accordingly it is concluded that the two texts have the following ideas in common: the council of the gods; the immortality of a god; a god’s sense of duty; the connection between the two previously named concepts; the cosmic consequences when rulers neglect their duties and the relationship between the chief god and the other gods. This study reaffirmed the common Near Eastern background of the Kirtu story and Psalm 82. The question arose what the implication of a similar milieu between the two texts would entail. The writer concluded that the Kirtu story assisted with the understanding of the word µyhil¿aÔ in Psalm 82: 1c and 6a. There was sufficient evidence from the two texts that µyhil¿aÔ should be translated with ‘gods.’ For the poet and his audience the µyhil¿aÔ were true gods and not heavenly beings or people or both. Psalm 82 and the Kirtu story both originated against the backdrop of pending disaster. Through the general themes of ‘righteousness’ and ‘God’s / the gods’ upholding thereof,’ the poets attempted to give sense in their respective situations. New possibilities to interpret Psalm 82 had been discovered after similarities between this psalm and the Kirtu Story were identified and discussed. The Kirtu story aided the reader in his / her understanding of Psalm 82. / Dissertation (MA (Semitic Languages))--University of Pretoria, 2007. / Ancient Languages / unrestricted

PhD (Xitsonga) / Ehansi ka Senthara ya MER Mathivha ya Tindzimi ta Afrika, Vutshila na Ndhavuko / See the attached abstract below

No description available.

The purpose of this study is to explore elements of the Romantic tradition in the poetry of Maxine Kumin and the poetic voice of Ms. Kumin as she writes in this tradition. The poet's choice of poetic-persona illustrates a growth of the consciousness, an identity of self. Of particular interest is the poet's close interaction with nature and use of natural symbols and images. A principal motif in Kumin's poetry is the common man. Another theme is the poet's role in the family. In poems exalting nature and the person who lives in simple and close interaction with nature, a number of men from the past and present are subjects of Kumin's poetry.

This examination of Ralph Vaughan Williams' song cycle to poetry of Alfred Edward Housman, "On Wenlock Edge," will follow primarily two avenues of approach. First, following a brief biographical sketch of Vaughan Williams' career prior to the composition of "On Wenlock Edge," will be a discussion of Vaughan Williams' and Housman's respective aesthetic philosophies. In order to lay the background for certain salient characteristics of this cycle, parallels as well as differences in their artistic thinking will be explained. Secondly, a poetic analysis will precede the musical analysis of each song in order to differentiate between the original intent of the poet and the interpretation of the poetry by Vaughan Williams.