This dissertation offers a revaluation of Walter de la Mare's poetry; it counters two common critical misconceptions; escapism and lack of development. The overall pattern of imagery in the poetry reflects de la Mare's understanding of reality. It outlines a universe of four interpenetrating "worlds": this world, the other world, the child world and the adult world. This pattern is used as a frame of reference. Key poems are closely read so the complexity beneath apparent simplicity is pointed up. The poetry divides into three chronological stages, with two peaks of maturity. In the early peak, The Listeners (1912) and Peacock Pie, (1913) a distinctive, dense symbolic mode is perfected. After a transitional period of formal experimentation, a late peak is achieved with Bells and Grass (1941) and The Burning-Glass (1945), where symbolic imagery forms the core for a quiet, reflective, conversational mode. Throughout, the children's and adult poetry are considered as a unit.

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This thesis is the first to examine chronologically the earliest published versions of all the full-length plays wrilten by Bertolt Brecht in the years 1918-1929. The evidence of these early unrevised versions and of hitherto unpublished material throws new light on this first period of his career as a dramatist which is seen as being principally characterised by the lack of any attempt to resolve the conflicts in which these early plays abound. The analysis of these conflicts involves in the first place an examination of the antagonisms between characters and the tensions within the mind of individual characters. This study of motive and interaction draws attention to the co-existence of existential and social sources of conflict in these early dramasq and outlines the changing relative importance of existential and social factors in each of the plays under consideration. Whereas in Baal (1918), Im Dickicht (1922) and Leben Eiduards des Zweiten (1924) there is great emphasis on the existential dimension of conflict, Trommeln in der Nacht (1919)9 Mann ist Mann (1926) and Aufstieg und Fall der Stadt Mahagonny (1929) pay more regard to its social significance. From the dates of these plays alone it is clear that to make such a distinction is to point to differences oI stress in individual plays rather than to a clear and straightforward development within the period under consideration. Howeverg allowing that existential and social factors continue to be of equal importance throughout the Twenties, a trend towards paying more attention to the social determinants of behaviour becomes apparent in works written from 1926 onwards. Brecht's presentation of conflict in these early plays is invariably ambivalent a fine balance being constantly maintained between the respective merits and negative aspects of different facets of conflict: vital enjoyment of struggle is offset by horror at the suffering caused, the claims of the transient individual clash with the demands of morality, the attractions of self-destruction vie with those of survival, the claims of passion with those of prudence. Formally, this ambivalence is reflected in the frequent mixture of comedy with tragedy, in sudden shifts from one stylistic level to another, and in the use of techniques of presentation, some of which encourage empathy with the characters, while others promote a more distanced attitude to events. The concluding chapter examines briefly the re-emergence of unresolved conflicts in plays written after Brecht's turn to Marxism.

Diss.--München--Universität, 1993. / Bibliogr. p. 620-637.

Thesis (M.A.)--University of Wisconsin--Madison, 1968. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thèse--Histoire--Helsinki, 1979. / Résumé en anglais. Bibliogr. p. 312-314. Index.

Submitted by Thalita Cristine Landeira Portela Faro (thalita.faro@fgv.br) on 2011-05-03T19:35:48Z No. of bitstreams: 1 000100568.pdf: 11142777 bytes, checksum: 94116484f442144b652dda77aa111197 (MD5) / Approved for entry into archive by Thalita Cristine Landeira Portela Faro(thalita.faro@fgv.br) on 2011-05-03T19:35:58Z (GMT) No. of bitstreams: 1 000100568.pdf: 11142777 bytes, checksum: 94116484f442144b652dda77aa111197 (MD5) / Approved for entry into archive by Thalita Cristine Landeira Portela Faro(thalita.faro@fgv.br) on 2011-05-03T19:36:10Z (GMT) No. of bitstreams: 1 000100568.pdf: 11142777 bytes, checksum: 94116484f442144b652dda77aa111197 (MD5) / Made available in DSpace on 2011-05-03T19:36:19Z (GMT). No. of bitstreams: 1 000100568.pdf: 11142777 bytes, checksum: 94116484f442144b652dda77aa111197 (MD5) Previous issue date: 1979-12

Jan Adamec, Hungary 1956: from a reform of socialism to a national uprising Dizertační práce Univerzita Karlova v Praze, Filozofická fakulta, Ústav světových dějin, Praha, 2015 Abstract The theses aims to analyze the crisis of the Hungarian Communist regime in 1956. It begins with the internal party struggle between Prime Minister Imre Nagy and First Secretary Matyás Rákosi in 1953-1955. Khrushchev's destalinisation initiative in 1956 triggered a new wave of conflicts. The crisis within the Communist Party was then deepened by the demise of Rákosi and the installation of Ernő Gerő as his successor in July 1956 and the emotionally charged reburial of László Rajk. The crisis coincided with grave economic shortages and rising dissatisfaction in the countryside. Encouraged Hungarian students organized demonstrations on 23 October 1956 that grew into mass riots against the regime. New agents that then played a key role in the events in question entered the political arena. Firstly, the Soviet army intervened on behalf of the Hungarian Communist leadership; however, it failed to restore order or suppress the mass movement. Secondly, dozens of guerrilla-like insurgent groups fought enthusiastically against the Soviets. Khrushchev contemplated postponing the use of military force for a brief period of time;...

Tese (doutorado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2016. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2017-03-02T19:04:27Z No. of bitstreams: 1 2016_AndréLuizdeSouzaFilgueira.pdf: 1390704 bytes, checksum: 46ed2a9799cbf1ad21b8e9fc197c90d0 (MD5) / Approved for entry into archive by Ruthléa Nascimento(ruthleanascimento@bce.unb.br) on 2017-03-07T11:52:53Z (GMT) No. of bitstreams: 1 2016_AndréLuizdeSouzaFilgueira.pdf: 1390704 bytes, checksum: 46ed2a9799cbf1ad21b8e9fc197c90d0 (MD5) / Made available in DSpace on 2017-03-07T11:52:53Z (GMT). No. of bitstreams: 1 2016_AndréLuizdeSouzaFilgueira.pdf: 1390704 bytes, checksum: 46ed2a9799cbf1ad21b8e9fc197c90d0 (MD5) / Este estudo analisa a presença das questões amorosas e existenciais no texto poético das canções autorais de Oswaldo Montenegro em De passagem, de 2011. O que se quer é demonstrar como o texto poético capta a identidade do sujeito contemporâneo. Para isso, inicia-se a investigação a partir do conceito de canção (categoria híbrida, composta de poesia e melodia), feita com as contribuições de Charles Perrone, Paul Zumthor, José Ramos Tinhorão e Sylvia Cyntrão. Na sequência, são examinados os conceitos de linguagem e texto poético, buscando subsídios epistêmicos nas categorias: essência espiritual, de Walter Benjamin; signo, de Mikhail Bakhtin; poesia, de Octavio Paz e Sylvia Cyntrão, e de imaginário, de Gilbert Durand e Sylvia Cyntrão. Os escritos de Mary Del Priore ajudam a refletir sobre as mudanças nas esferas pública e privada nacional, ao passo que Júlio Simões e Guacira Louro pensam o conceito de sexualidade. Para apontar a temática amorosa nas canções, conta-se com as contribuições de Zygmunt Bauman (com o conceito de amor líquido), além da inserção dos conceitos de intimidade e desejo – pensados por Anthony Giddens, Cláudia Carvalho, André Lázaro, Comte-Sponville, Octavio Paz e Mary Del Priore – globalização, explorada por Eric Hobsbawm e Stuart Hall, e hipermodernidade, de Gilles Lipovetsky. A abordagem da temática existencial se vale da direção de Albert Camus, a partir da obra O mito de Sísifo. O suporte metodológico consultado na análise é oferecido por Maria Luiza Ramos, que apresenta a leitura fenomenológica da estrutura textual; Nelly Novaes Coelho, que chama atenção para a estrutura morfossintática da linguagem poética como ampliadora da plurivocidade lírica, e Umberto Eco, que orienta a extração da direção intencional da obra, apoiada na tríade: intentio operis (intenção da obra), intentio autoris (intenção do autor) e intentio lectoris (intenção do leitor). / This study analizes the presence of loving and existential questions in the poetic text of autorship music Oswaldo Montenegro in De Passagem album released, in 2011. The goal is to demonstrate how the poetic text captures the identity contemporary subject. Therefore starts the investigation starting from the cancion concept (understood as hybrid category between poetry and melody), made from contributions of Charles Perrone, Paul Zumthor, José Ramos Tinhorão and Sylvia Cyntrão. Follwing, the language concepts and poetic text are examined searching espitemycs subsidies in the categories: spiritual essence by Walter Benjamin, sign by Mikhail Bakhtin, poetry by Octavio Paz and Sylvia Cyntrão and also the imaginary by Gilbert Duran and Sylvia Cyntrão. The writings of Mary Del Priori helps to reflect about the changes in the public and private national level. While Julio Simões and Guacira Louro discuss the concept of sexuality. Using the contributions of Zygmunt Bauman to point the love theme in the songs (with the liquid love concept). Additionally to the insertion of intimacy and desire concepts thought by Anthony Giddens, Cláudia Carvalho, André Lázaro, Comte-Sponville, Octavio Paz, Mary Del Priore; globalization by Eric Hobsbawm and Stuart Hall; hypermodenity by Gilles Lipovetsky. The approach of the existential question uses the writing by Albert Camus in the book Or myth of Sisyphus. The methodological support consulted in the analysis is offered by Maria Luiza Ramos that shows phenomenological reading of textual structure. The author Nelly Novaes Coelho that chew to the morphosyntatic structure of the poetic language as an amplifying the lyric plurivocity and Umberto Eco which guides the extraction of intentional direction of the composition, supported in the triad: intentio operis (poetical intention), intentio autoris (author intention), intentio lectoris (reader intention).

From Chapter 1: In this chapter I hope to illustrate in general terms how de la Mare's interest in dream and the preternatural pervades his work. His views on reality and in what it truly consists will be considered and definitions provided of various terms used throughout this study. These will approximate as closely as possible the meanings they acquire through de la Mare's own use of them. Some detailed reference to his work, especially to his prose introduction to the anthology Behold, This Dreamer! and to his poem "Dreams", will provide support for the statements made. Finally, an attempt will be made to place de la Mare, briefly and in broad outline, within his literary context, again with particular reference to his interest in dream and the preternatural and where it corresponds to or deviates from what one could expect from a poet of this period.