La première partie de ce mémoire consiste en un recueil de poèmes intitulé « L’empreinte du large ». Le saisissement a été au coeur de ma démarche d’écriture, en ce sens que la poésie permet, dans un même élan, de saisir le langage et d’être saisi par lui, de créer et d’être créé, d’élargir la conscience et d’être transformé par ce surcroît de conscience. Dans mon recueil, l’intime côtoie l’universel, le quotidien interroge l’infini, l’ordinaire fait face au sacré. Ces thèmes ont été inspirés par la lecture des poèmes de la grande poète américaine, Emily Dickinson. La deuxième partie du mémoire est consacrée à un essai réflexif intitulé « Saisie par l’insaisissable : le thème de la verticalité dans la poésie d’Emily Dickinson ». Dans cet essai, j’explore le thème de la verticalité à partir des motifs de la montagne, de l’oiseau et de l’arbre. L’objectif était de trouver dans le paysage dickinsonien les traces de la grande capacité de la poète à se laisser saisir. La critique thématique, telle qu’appliquée par le critique littéraire Jean-Pierre Richard, a fourni le cadre théorique et l’approche méthodologique de l’essai. / The first part of this Master’s thesis is a collection of poems titled “L’empreinte du large”. The approach I used was based on the poet’s capacity to take the language and, in the same movement, to be taken by it. In my poetry, the intimate coexists with the universal; everyday life questions the infinity; and the common faces the sacred. Theses themes were inspired by the great American poet, Emily Dickinson. The second part of the Master’s thesis is devoted to an essay titled “Saisie par l’insaisissable: le thème de la verticalité dans la poésie d’Emily Dickinson”. In this essay, I explore the theme of verticality as symbolized and thematized respectively by the mountain, the bird, and the tree. The objective was to find the signs of Emily Dickinson’s capacity to be astonished. The theory of thematic criticism, as applied by the literary critic Jean-Pierre Richard, provides a conceptual framework and a methodology for the essay.

Call number: LD2668 .T4 1957 M15 / Master of Science

Many herpetofaunal species are imperiled, and the causes of this are often a synergy of multiple factors. In wetlands specifically, two of the possible determinants of species occurrence and faunal community assemblage are fish presence and wetland permanence, which are not always correlated. Twenty wetlands were sampled in Jonathan Dickinson State Park, Florida, USA to observe how wetland herpetofaunal communities vary with fish, wetland permanence and other environmental factors. Herpetofaunal communities with and without fish were significantly different from one another and differences between herpetofaunal communities were primarily due to the contribution of four species of frogs, two generalist ranids and two specialist hylids. Wetland permanence had no observable effect on community structure. Fishless wetlands were significantly more species-rich and possessed higher numbers of individuals even for species that occurred in both fishless and fish wetlands, regardless of their permanence. These findings have implications for wetlands restoration and herpetofaunal conservation. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

The watershed of music education in the United States originated with tributaries from Puritan families, churches and communities of the 1630s. For more than three hundred years, Dickinson family members have been influenced by music educators. In turn, the Dickinsons, as ministers, educators and music educators, influenced innumerable students and communities. The purpose of this narrative case study was to describe the influence of music educators on students' lifelong learning and musicianship. Utilizing a nested case study approach focusing on two individual cases within a larger family case, this inquiry examined the ways music educators addressed critical issues in music education in Dickinson communities prior to 1860. Further, this study investigated the ways music educators influenced the lives and relationships of Martha Dickinson Bond and Clarence Dickinson and the ways the Dickinsons were influential in their students' lives. Sources of data were drawn from the Clarence Dickinson Collection of Sacred Music at William Carey College; private collections from the estate of Martha Dickinson Bond; and collections from libraries, churches, historical societies, and archives in former Dickinson communities. Data sources included interviews with students of the Dickinsons, artifacts, records, diaries, letters, recorded and written music, photographs, participant-observations, and direct observations. Content analysis involved developing chronologies and case profiles; identifying and coding patterns from data; utilizing matrix displays for within-case and between-case analysis; synthesizing emergent constructs and themes; and illustrating themes with examples from data. Data analysis revealed themes about the influence of music educators holistically over three centuries (1630s-1930s): Religion; Relationships; Character Development; Literacy; Musical Development; Community Contributions; and Inspiration . Recommendations for music educators, music therapists, and teacher educators were organized by five identified stages of musical development over the human lifespan. Recommendations for further study corresponded to guiding research questions.

Denna studie fokuserar på den amerikanska poeten Emily Dickinson och hennes psykiska hälsa samt kreativitet och skrivande. Syftet är att lyfta fram hur fyra utvalda teman; hjärna, hjärta, sinne och själen, framställs i Dickinsons poesi. Detta handlar därför om en tematisk analys, där frågeställningar besvaras med hjälp av psykoanalytiska teorier. Studiens resultat visar att Dickinsons poesi fungerar som en brygga mellan hennes subjektiva känslor och allmänmänskliga teman. Det har lyfts fram medvetna samt omedvetna faktorer, vilka har kopplats till poetens psykiska tillstånd och därmed visat på hennes styrkor samt svagheter, i synnerhet vad gäller den kreativa skrivprocessen. Dickinsons poesi har slutligen argumenterats för att vara psykologiskt intriktad, och slutsatsen i denna studie förklarar därför vilka fördelar det finns med att läsa Dickinson med hjälp av psykoanalytiska teorier. Genom läsning av Dickinson i samband med Freud och andra psykoanalytiker skapas en koppling mellan poetens psykiska tillstånd samt hennes dikter, där psykoanalytiska teorier som fokuserar på kreativitet och skapande blir ett hjälpmedel för att läsaren ska få en djupare inblick i poetens liv och skrivande.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

My thesis researched memory and perception through an examination of surfaces. Acting as skin, boundary, veil, or terrain, the surfaces I created revealed imprints and residues that offered information used to clarify distorted perceptions. I attempted to locate evidence in parts of my body, and in physical matter, that contained a record of history. The work was often site specific, with the wall playing an intrinsic role in the construction of these pieces, made of paper, thread, and wax. Their surfaces referenced landscapes of the earth and of the body, a mental terrain shaped over time by the paths of repetitive thoughts and the steady advance of emotional forces. In the end, the surfaces asked more questions than they could answer, and it was this mystery within the surfaces that I would devote myself to. The work embraced ambiguity, shadows, and what was hidden beneath the surface.

Emily Dickinson's poetry functions where scientific attention to the physical world and abstract theorizing about the ineffable intersect. Critics who emphasize the poet's dedication to the scientific often take for granted how deeply the uncertainty that underlies all of Dickinson's poetry opposes scientific discussion of the day. Meteorology is an exceptional nineteenth-century science because it takes as its subject complex systems which are inexplicable in Newtonian terms. As such, meteorology can articulate the ways that Dickinson bridges the divide between the unknown and the known, particularly as she relates to the interplay of nature and culture, the role of careful observation in the face of uncertainty, and issues of home and dwelling. These are themes integral to and further elaborated by contemporary ecocritical discourse.

Paul Celan's translations of Emily Dickinson's poems Because I could not stop for Death and Let down the Bars, Oh Death illuminate the global metaphor inherent in both poems' exploration of death. Celan's The Meridian speech, coupled with Dickinson's poems I saw no way and Tell all the truth, suggest that language can move in different directions across a globe at the same time. When these different lines meet, they reach a meridian of the spiritual and the material. As Celan translates Dickinson's two poems, he uses this global metaphor to place more emphasis on death and to further illuminate how ambiguity is used in the poems to represent what death is, thus highlighting Dickinson's original project in her death poems.

Taking a cue from the occasional reticence of the often-exuberant American Romantic poetics, this project tracks what I call “rhetorics of silence” in verse: those moments where words are declared to be inadequate, impertinent, unavailable, unintelligible or otherwise unsuitable for a task that the poet has proposed. In this respect, the term “silence” functions here as a broad metaphor encompassing a number of meta-linguistic or meta-poetic gestures aimed at highlighting the shortcomings of knowledge and representation. Whereas earlier critics have noticed these silences in haphazard ways, this project looks toward a systematic account of why and when nineteenth-century poets rely on gestures to the space beyond language. This intervention is especially useful for reading the seminal American poets Walt Whitman and Emily Dickinson. Because Whitman seems celebratory and Dickinson doleful, it has often been difficult to offer productive readings of the two in tandem. Where Whitman does resemble Dickinson, it is often thought to be in his poems that abandon or despair of his project for a democratic poetics. By contrast, working through the lyric and political verse of the lesser-known poetry of John Rollin Ridge, this project reads visionary and despairing silences as alike rhetorical gestures aimed at highlighting the common humanity of the poet and the reader. “Silence” is therefore an outgrowth of American ideology, albeit one that frequently allows poets to expand and query that ideology in ways that are not possible in the many corresponding but often blither deployments of rhetorical silence in the culture at large.