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1	Sydney Owenson and the idealization of Ireland cultural nationalism in The Wild Irish Girl and the O'Briens and the O'Flahertys / Buckner, Brenda O'Brien. January 2002 (has links) Thesis (M.A.)--University of California, Santa Cruz, 2002. / Typescript. Includes bibliographical references (leaves 59-60).
2	The thumb of knowledge in legends of Finn, Sigurd, and Taliesin Scott, Robert Douglas, January 1930 (has links) Thesis (Ph. D.)--Columbia University, 1930. / On cover: Studies in Celtic and French literature. Vita. Originally designed as an appendix to a study on the "Finn-saga" cf. Pref. Bibliography: p. 283-296.
3	Все ушли на фронт : Krigstematiken och bardrörelsen i Sovjetunionen / Vse ushli na front : The war theme and the bard movement in the Soviet Union Hällström, Mattias January 2020 (has links) In the Soviet Union, literary writers were required to produce their work within the bounds of the cultural doctrine of Socialist realism or risk being subject to sanctions of the authorities. During the Khrushchev Thaw after the death of Joseph Stalin, there appeared the musical genre of avtorskaya pesnya (or author’s song), which was often described as part of the dissident movement in the Soviet Union. The genre nourished on as well as voiced criticism of Soviet life, and its performers, also called bards, became highly popular. The Great Patriotic War (1941-1945) was a common theme in Soviet literature, and also one of the main themes in avtorskaya pesnya. This study analyses the war theme in the songs of the three main bards of this genre – Bulat Okudzhava, Yuri Vizbor and Vladimir Vysotsky – in order to examine the genre’s relation to the norms of Socialist realism. These definitions compose the theoretical framework that is applied to the songs in interpretative readings to determine their relation to Socialist realism. The study analysed 21 songs with a war theme of Okudzhava, Vizbor and Vysotsky. Contrary to what might be expected, it is concluded that the war theme found in avtorskayapesnya generally conforms to the norms of the officially approved Soviet literature of war, but that the bards in some instances venture outside of the bounds of Socialist realism. Soviet bards Socialist realism war poetry Okudzhava Vizbor Vysotsky Barder socialistisk realism krigslitteratur Okudzjava Vizbor Vysotskij General Literature Studies Litteraturvetenskap
4	My Way or the Highway: Depictions of Society in the Travel Songs of B. Okudzhava, Yu. Vizbor, and V. Vysotsky Bakker, Ardelle O Unknown Date No description available. Russian Bards Vladimir Vysotsky Bulat Okudzhava Yuri Vizbor Woody Guthrie Folk music Literary criticism Jean Baudrillard Michel de Certeau Poetry Travel Society Utopia Dystopia Homotopia Heterotopia Distance Separation Dissent
5	La danse des temps dans l'épopée, d'Homère au Roland / Dancing with Tenses in Epic, from Homer to the Song of Roland Lakshmanan-Minet, Nicolas 21 November 2017 (has links) Les épopées d’Homère et de Virgile, la Chanson de Roland sont marquées par une alternance qui peut paraître capricieuse. En fait, on la saisit beaucoup mieux dès lors qu’on prend en compte la présence des corps : ceux du jongleur, de l’aède, du récitant ; le corps du public. Postures, gestuelle, mouvements, regard, souffle, musique s’articulent à cette alternance pour en faire une véritable danse. Cette thèse étudie d’abord comment dansent chacun des temps principaux du récit dans ces épopées, en accordant la priorité à Homère et au Roland ; puis elle étudie comment cette danse des temps prend corps dans chacune des petites pièces dont nous décelons que sont composées les épopées anciennes comme le Roland : les laisses. / The Homeric and Virgilian epics, as well as the Chanson de Roland are full of tenseswitching, the use of which might seem capricious to the modern reader. It is in fact much better understood when bodies’ presence is taken into account — these bodies being the bard’s one as well as the audience’s. Postures, gestures, moves, eyes, breath, music are joint partners to tenseswitching, so that tenses really dance in epics. This study is firstly about how each one of the main narrative tenses dances in Homer and the Roland, and also in the Æneid. Then it studies the way tenses dance in each of the small pieces we find in the classical epics as well as in the Roland : the laisses. Temps verbaux Jongleur Aède Danse Performance Gestuelle Voix Chant Épopée Chanson de geste Présent de narration Narrateur Augment Imparfait Aoriste Parfait Passé simple Futur Grec ancien Latin Ancien français Homère Virgile Tenses Jongleur Bards Dance Performance Gestures Voice Singing Epics Chanson de geste Historic present Narrator Augment Imperfect Aorist Perfect Simple past Future Archaic greek Latin Old french Homer Vergil 470 870 480 880

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