O objetivo deste estudo é fazer uma leitura atenta de alguns dos mais emblemáticos sonetos de Vinicius de Moraes, que aparecem na chamada segunda fase de sua poesia, perseguindo assim o modo particular que o poeta tem de enxergar o sentimento amoroso. Propõe-se como hipótese interpretativa que Vinicius elabora, em sua lírica, uma visão singular do amor, capaz de congregar em si o instante e o infinito. Tal perspectiva consiste em dar forma aos anseios de totalidade, inquietação desde o começo presente em seus versos, graças à reunião das esferas do físico e do sublime. O primeiro capítulo desta dissertação traz um breve balanço de sua poesia inicial, rastreando os motivos e os ritmos centrais trabalhados em seus livros de juventude; o segundo capítulo apresenta as análises de alguns dos sonetos de amor escritos a partir de 1938, poemas nos quais o novo modo de compreender o sentimento amoroso surge com maior nitidez; e o capítulo final procura abordar o testemunho lírico do poeta, que se volta, em chave de síntese, para os problemas de seu ofício em \"Poética (I)\" e \"Poética (II)\". / The objective of this study is to present an attentive reading of the most emblematic of Vinicius de Moraes\'s sonnets, which appear in a so-called second phase of his poetry, following the particular way the poet has to regard love. The interpretative hypothesis is that Vinicius elaborates, in his poems, a singular view of love, capable of congregating both the instant and the infinite. Such perspective consists of giving shape to the will to totality, a concern present in his verse since the beginning, due to the union of the physical and sublime spheres. The first chapter of this dissertation brings a short presentation of his initial poetry, tracking the central motives and rhythms in his early books; the second chapter presents the analysis of some love sonnets written from 1938 on, poems in which the new way to understand love appears more distinctly; and the final chapter attempts to approach the poet\'s lyrical testimony, which concerns, synthetically, to the problems of his work in \"Poética (I)\" and \"Poética (II)\".

In-depth study reveals that the period 1971 to 1991 is a crucially important period is Sepedi poetry, because in these years the greatest proportion of the volumes of poetry currently available was published. This study discusses the characteristics of modern Sepedi poetry, focusing on selected poems by certain Sepedi poets. The poems examined are shown to be well organized in terms of content, structure, stanza form and rhyme. This study uses two research methodologies, namely definition and description of pertinent aspects of the poems related to the topic of study, modern Sepedi poetry. The model used examines the structure of the texts in terms of the three layers, namely content, plot and style, which provides a useful framework for the study of the structure of this modern poetry. Poetry is discussed in general, and defined, and the types and structure of modern poetry in particular are explored. The stanza forms of modern poetry are analyzed, according to Ntuli’s classification of regular, expanding, diminishing and bulging stanzas (1984: 232-245). Rhyme is known to be an important aspect of Sepedi poetry. Rhyme is defined as the repetition of words with the same or similar sound (homophones) and similar length, at the beginning, middle or end of lines, to form beginning, middle and end rhyme respectively. The function of rhyme is to make the reading of the poems more enjoyable, and to bring coherence to the stanzas of the poem. The sonnet is also discussed, and Spanish and English sonnets analyzed and compared with Sepedi sonnets. Sepedi sonnets are shown by this comparison to be governed to a greater extent by grammatical rules than their European counterparts, which affects the Sepedi poems’ rhyme, tone, poetic meter and length of words. Modern Sepedi poems are thus shown to draw on traditional Sepedi poetic techniques, in which the poetic meter is governed not by length of syllable but by two metrical laws, the law of separation and the law of agreement. The role of the caesura is also discussed, as it functions both to separate and join together metrical parts of the poem. Enjambment is described as the extension of a concept in a poem beyond a single line. That extension of poetical line in this fashion emphasizes the concept and also accelerates the tempo of the poem. Also important in tempo is the poetic meter, which can be altered by tone or pronouncement of particular words. The study is concluded by discussing the repetition of sounds, word stems, whole words or phrases. Various types of repetition are discussed, namely repetition of consonants, repetition of vowels, repetition of initial, middle and final sounds, mixed repetition, linking and refrains. / Dissertation (MA (African Languages))--University of Pretoria, 2008. / African Languages / unrestricted

OOLITHS is a poetry collection that challenges commonly held American values such as the sanctity of the family, the American Dream, the nobility of parenthood, and faith in God. Divided into eight sections, the collection follows the arc of childhood, adolescence, maturity and decline. Images of birds, crickets, the beach, the moon, and rainstorms anchor the poems to Miami’s natural habitat and to each other, while images involving music, sleep, raisins, coffee beans and eggs unite them in the realm of the domestic. OOLITHS includes traditional forms such as sonnets, as well as nonce forms, prose poems, free verse and newer forms. “Art History for Breast Cancer Survivors”—a twenty-stanza pecha kucha inspired by Terrence Hayes that deals with the narrator’s battle with breast cancer—marks the middle of the collection. Having scratched the varnish off our illusions, OOLITHS concludes by acknowledging the inevitability of loss with a bittersweet smile.

The aim of this thesis is to identify coupling mechanisms for three line microstrip, stripline and microstrip with dielectric overlay structures as either inductive or capacitive, quantify through simulation and measurement the amount of crosstalk to be expected in terms of scattering parameters. A new method of crosstalk suppression is implemented into each three line structure by placing uniformly spaced short circuits down the length of the center transmission line. All structures were simulated over various physical and electrical parameters. Select microstrip structures, shielded and unshielded, were fabricated and measured to validate the effectiveness of the shielding technique. Shielding effectiveness was calculated from the measurements, and their results showed that the isolation between lines was increased by up to 20dB.

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No description available.

The image has been essential to American poetry since at least the early 20th century, when modernists like H.D., Williams, and Pound made images the charged heart of their poetics. But the image as a concept, as that which we see when we say caribou, is as ancient as human thought­. Not all images, though, spring from material truths, like the material truth of an animal. Images are social, like doctor, and if they are social, they are political. They are shaped by experience and reinforced by culture. In a capitalist culture, images become alienated from the material they claim to represent; they are simulacra in the theoretical sense, a representation of a thing that never existed. As such, images can be wielded as weapons: to harm, to intimidate. These reified images are trafficked as truth, and they alter what is real as people bend the world to make it fit their image of it. The poems in The Only Way Out Is Through are an intervention and an inquiry into this process. “Sonnets from Decivilization” is a crown of sonnets in the tradition of Claude McKay, Edwin Denby, Ted Berrigan, Wanda Coleman, Jack Agüeros, and Terrance Hayes. What is common between these poets is their engagement with American hegemony through the poetics of the sonnet. In the American sonnet, distinct from the Shakespearean and Petrarchan sonnet forms, notions of the state and of belonging are always-already present, influencing the affect of negotiations between speaker and state. An alien in the eyes of the United States government, the speaker of the sonnets engages with the unreal and the real that constitutes the image of, and images from, America. The first part of “The Image World” is a journey to the realm of images, a place that is both interior and external, personal because shared. The unreality of a familiar landscape is relayed through understatement from a vacated voice. Joseph Ceravolo, Bernadette Mayer, Fred Moten, and Anne Carson help inform the approach. “The Applications” uses the rhetoric of bureaucracy to show how personhood is distorted when citizens and aliens are required to make their experiences and desires legible to the language of power. The narrative resonates when the reader is able to place their own experience into the blank spaces between the words, and sites where language breaks down entirely is where the reader is able transcend, along with the speaker, the commodified function of language and exist, however briefly, in meaningful senselessness. Hoa Nguyen and Alice Notley are key influences. The final section, the second part of “The Image World,” is a vision for a future that resists the oppressive powers that have brought our world to the crises we are currently living through. The speaker of this section is the addressed of the first section, collapsing reader and speaker into the same entity. This coming to voice speaks to the necessity of articulating possible futures, of creating new images, of returning to materials truths, together, the only way out, through.

This is a collection of poems that are confrontations with the self – the self as a vessel of memory (hence the “Post” in the title, in addition to its double-meaning of “Post,” as in online self-revelation), as writer, as mother of a young child, as wife, as lover, writer, psyche, self-reflexive animal. The voice is private, heightened, direct, and colloquial, engaging in unexpected imagery, figurative language, and grammatical-play, and drawing from all levels of language and culture. The poems often record the process of trying to untangle the complexity of the self at the moment of writing, and they incorporate the particulars of the moment of writing, or associations at the moment of writing, as scaffolding for self-reflection. They are philosophical in a personal sense. Some of areas of concern explored or touched on in the poems include place, privilege, God, music, contradiction, ambivalence, the intersections of pain and pleasure, family, community, isolation, connection/disconnection, romantic love, gender, sexuality, victimization, morality language, and depression, but most of all, the state and degree and struggle for self-awareness vis-à-vis these issues. Most of these poems come through a self or a self-persona, and that self is a sensitive, even volatile character – through childhood, adolescence, marriage & martial separation, and motherhood. Often, in these poems, this self seeks refuge, escape, and redemption through language and through the body. The poet also explores form and poetic mode, in disrupted or reimagined narrative, villanelle, elegy, and sonnet form. / Master of Fine Arts

Le mémoire se compose de trois parties : une synthèse de 100 pages ; un ensemble de 15 articles, totalisant 460 pages, tantôt publiés, tantôt inédits ; et une présentation des principales tâches d'animation scientifique accomplies par le candidat au cours des dernières années. La synthèse procède à un examen critique des éléments constitutifs du dossier : les articles, et les tâches d'animation scientifique. Les articles sont doublement discutés, selon le double plan suivant : I. Discussion thématique : les articles y sont répartis en cinq groupes : 1. Influence de la culture sur les formes métriques ; 2. Monographies métriques sur la deuxième moitié du XIXe siècle ; 3. Travaux de recension ou bibliographiques en métrique ; 4. Poétique post-jakobsonienne ; 5. Philologie : édition, attribution. II. Discussion formelle : les articles y sont répartis en quatre groupes : A. les rimes ; B. les strophes ; C. les formes fixes ; D. la " poétique générale ", c'est à dire, principalement, des travaux comportant une forte composante érudite. La discussion fait non seulement une présentation des articles, mais en fait aussi la critique, procédant à des corrections et mises à jour, mettant en valeur l'évolution du candidat depuis 1996, suggérant des pistes de recherches pour les années à venir. La suite de la synthèse est consacrée aux tâches d'animation scientifique accomplies par le candidat (direction de deux ouvrages, l'un publié en 2003, l'autre en préparation, et organisation d'un colloque international). Les différentes étapes de l'élaboration de ces projets sont mises en évidence. La synthèse se termine par quelques pages extraites de l'introduction, encore en préparation, de l'ouvrage inédit. Le dossier annexé à la synthèse s'ouvre sur le volume constitué de l'ensemble des articles et de leur résumé. Les articles qui ont déjà été l'objet d'une publication ont été publiés entre 1996, année de la soutenance de thèse de doctorat du candidat, et 2005. En voici la liste : [01. Larme] * 1996 : " Rimbaud : les rimes d'une Larme ", Parade sauvage, 13, Charleville-Mézières, Musée-Bibliothèque Rimbaud, pp. 24-44. (thèmes 2 et A) (21 pp.) [02. Jakobson] * 1996 : " L'interface forme/sens en poétique (post-)jakobsonienne ", Langue française, 110, Paris, Larousse, mai, pp. 4-15 (bibliographie collective pp. 118-125). (thèmes 4 et D) (20 pp.) [03. Bibliographie] * 2000 : " Bibliographie " [sur le vers français], in M. Murat, éd., Le Vers français. Histoire, théorie, esthétique, Paris, Champion, pp. 373-397. [En collaboration avec Michel Murat, Jean-Michel Gouvard, Benoît de Cornulier]. (thèmes 3 et D) (25 pp.) [04. Strophe] * 2000 : " Nouvelles considérations sur les strophes ", Degrés, 104, 'Poétique. Approches linguistiques de la poésie', pp. e 1-16. (thèmes 1 et B) (16 pp.) [05. Sonnet verlainien] * 2002 : " Métrique des sonnets verlainiens ", Revue Verlaine, 7-8, Charleville-Mézières, Musée-Bibliothèque Rimbaud, pp. 149-268. (thèmes 2 et C) (120 pp.) [06. Hyper-rime/Métarime] * 2003 : " Hyper-rime et métarime en poésie française au XIXe siècle ", in J.-L. Aroui, ed, Le sens et la mesure. De la pragmatique à la métrique. Hommages à Benoît de Cornulier, Paris, Champion, pp. 415-439. (thèmes 2 et A) (26 pp.) [07. Rime riche] * 2005 : " Rime et richesse des rimes en versification française classique ", in M. Murat & J. Dangel, éds., Poétique de la rime, Paris, Champion, pp. 179-218. (thèmes 1 et A) (40 pp.) [08. Coppées] * " Éditer les "dizains réalistes" ", Degrés, 121-122, Bruxelles, pp. g-1-23. (thème 5 et C) (23 pp.) [09. Évocation] * " Évocation et cognition. À propos d'un ouvrage récent ", Travaux de linguistique, 51, 2005:2, Bruxelles, Duculot, pp. 135-155. (thèmes 4 et D) (21 pp.) Les articles suivants sont encore inédits : [10. Triolet] * " Les triolets de Verlaine : métrique, datation, attributions ", à paraître dans la Revue des Sciences Humaines, numéro spécial 'Forces de Verlaine', sous la direction de Yann Frémy, octobre-décembre 2006. (thèmes 5 et C) (22 pp.) [11. Beaudouin] * " Mètre, rime et rythme chez Corneille et Racine. Gros plan sur une thèse récente ", à paraître dans Cahiers du Centre d'Études Métriques, n° 5. (thème 3 et D) (33 pp.) [12. Sonnet français] * " Remarques métriques sur le sonnet français ", à paraître dans Studi Francesi, 147, septembre-décembre 2005. (thèmes 1 et C) (15 pp.) [13. European sonnet] * " Metrical Structure of the European Sonnet ", in J.-L. Aroui, ed., Towards a Typology of Poetic Forms, soumis à Elsevier, coll. 'North-Holland Linguistic series : Linguistic Variations'. (thèmes 1 et C) (20 pp.) [14. L'Allée] * " "L'Allée" : sonnet renversé ou rimes mêlées ? Réponse à Alain Chevrier ", à paraître dans Revue Verlaine, 10, 2006. (thèmes 2 et C) (14 pp.) [15. Dizain marotique] * " Métrique, perception et valeurs culturelles du XIVe au XVIe siècles : le dizain "marotique" " (thèmes 1 et B) (14 pp.) Le dossier se poursuit sur un troisième volume, qui présente trois travaux d'animation scientifique accomplis par le candidat entre 2003 et 2006 : [16. Festschrift] * Direction d'ouvrage : Le sens et la mesure. De la pragmatique à la métrique. Hommages à Benoît de Cornulier, Paris, Champion, 2003, 608 pp. [17. Colloque] * Organisation d'un colloque international : Typologie des formes poétiques, Paris, E.H.E.S.S., avril 2004. [18. Typology] * Direction d'un ouvrage : Towards a Typology of Poetic Forms, soumis à Elsevier, coll. 'North-Holland Linguistic series : Linguistic Variations'. La pièce 16 réunit la présentation de l'ouvrage et sa table des matières. La pièce 17 comprend l'appel à communications du colloque et son programme détaillé. La pièce 18 traite d'un ouvrage encore en préparation ; elle comprend : le plan du livre, les résumés des articles, et les biographies des auteurs. Le mémoire s'achève sur un errata des pièces constitutives des annexes et sur une bibliographie générale.

Despite its impact in generating a more positive reception toward Wordsworth's work among his contemporaries, The River Duddon volume has received comparatively little critical attention in recent scholarship. On some level, this is unsurprising given the relative unpopularity of Wordsworth's later work among modern readers, but I believe that the relative shortage of critical scholarship on The River Duddon is due, at least in part, to a symptomatic failure to read the volume in its entirety. This essay takes up the challenge of following Wordsworth's directive to read The River Duddon volume as a unified whole. While I cannot account for every inclusion, I set out to explore how the idea of collection functions as the unifying force governing the volume's organizational and thematic structure. I argue that although the individual pieces that make up the collection are distinct from each other in their style, subject matter, and date of composition, together they constitute an exploration of the beauty of Wordsworth's native region and his interest in harmonizing aesthetic principles of variety and unity. When read as parts of a dialogical exchange rather than as self-contained units, the individual texts in The River Duddon collectively present an array of perspectives through which Wordsworth not only celebrates the rich diversity of the Lake District's local customs and landscapes, but also theorize a sophisticated poetics of collection which he hoped would help justify his poetic program and reinforce the literary and cultural weight of his future work.