No description available.

Poets and critics have long agreed that any perceived differences between poetry and prose are not essential to those modes: both are comprised of words, both may be arranged typographically in various ways—in lines, in paragraphs of sentences, or otherwise—and both draw freely from the complete range of literary styles and tools, like rhythm, sound patterning, focalization, figures, imagery, narration, or address. Yet still, in modern American literature, poetry and prose remain entrenched as a binary, one just as likely to be invoked as fact by writers and scholars as by casual readers. I argue that this binary is not only prevalent but also productive for modern notions of poetry, the root of many formal innovations of the past two centuries, like the prose poem and free verse. Further, for the poets considered in this study, the poetry/prose binary is generative precisely because it is flawed, offering an opportunity for an aesthetic critique. “Antagonistic Cooperation: Prose in American Poetry” uncovers a history of innovative writing that traverses the divide between poetry and prose, writing that critiques the poetry/prose binary by combining conventions of each. These texts reveal how poetry and prose are similar, but they also explore why they seem different and even have different effects. When these writers’ texts examine this binary, they do so not only for aesthetic reasons but also to question the social and political binaries of modern American life—like rich/poor, white/black, male/female, gay/straight, natural/artificial, even living/dead—and these convergences of prose and poetry are a textual “space” each writer creates for representing those explorations. Ultimately, these texts neither choose between poetry and prose nor do they homogenize the two, affirming instead the complex effects that even faulty distinctions may have had historically, and still have, on literature—as on life. By confronting differences without reducing or erasing them, these texts imagine ways to negotiate and overcome modes of ignorance, invisibility, and oppression that may result from these flawed yet powerful dichotomies.

No description available.

Submitted by Cynthia Nascimento (cyngabe@ufba.br) on 2013-02-14T16:03:13Z No. of bitstreams: 1 Nirânia Silva Araújo Depeyster.pdf: 3718093 bytes, checksum: 11b0a763f7c5473dc8b54b2f0dc703d2 (MD5) / Approved for entry into archive by Valdinéia Ferreira(neiabf@ufba.br) on 2013-02-14T16:17:50Z (GMT) No. of bitstreams: 1 Nirânia Silva Araújo Depeyster.pdf: 3718093 bytes, checksum: 11b0a763f7c5473dc8b54b2f0dc703d2 (MD5) / Made available in DSpace on 2013-02-14T16:17:50Z (GMT). No. of bitstreams: 1 Nirânia Silva Araújo Depeyster.pdf: 3718093 bytes, checksum: 11b0a763f7c5473dc8b54b2f0dc703d2 (MD5) / Estudo genético dos manuscritos do livro Brazil, encomendado pela editora norte-americana Time-Life a Elizabeth Bishop, poetisa norte-americana que viveu no Brasil durante as décadas de 1950 e 1960. A primeira edição do livro Brazil foi lançada em 1962 nos Estados Unidos e no Canadá; seguia o estilo jornalístico da Revista Life, que privilegiava a linguagem fotográfica como instrumento informativo, ficando o conteúdo textual em segundo plano. Brazil também incorporou alguns dos valores ideológicos defendidos pela editora, que privilegiava a legitimação das políticas interna e externa do estado norte-americano junto à sociedade estadunidense, especialmente durante o período histórico da Guerra Fria. Essas circunstâncias históricas em que Brazil foi publicado tiveram influência significativa no processo de revisão ao qual o livro foi submetido pelos editores da Time-Life. Nesse processo de edição, tantas foram as alterações e os cortes introduzidos no texto de Elizabeth Bishop, que a autora não mais o reconhecia e o renegou publicamente. Assim, a presente pesquisa objetivou, mediante o instrumental metodológico da Crítica Genética, o estudo comparativo entre os manuscritos de Bishop e a primeira edição do livro Brazil publicada em 1962, a fim de identificar aspectos da ideologia autoral de Elizabeth Bishop, que foram contrários aos parâmetros ditados por aquela instituição editorial, tanto em termos de estilo narrativo, como de conteúdo ideológico. Nesse sentido, a contextualização histórica da obra também foi contemplada no presente trabalho, que busca compreender tal processo edição; no processo de criação do livro Brazil haveria de se refletir circunstâncias da vida pessoal da autora, bem como aos acontecimentos históricos dos anos 60, no Brasil e no mundo. Também foi abordada a problemática da autoria colaborativa do livro Brazil sob a perspectiva teórica da Crítica Genética e dos estudos da Atribuição Autoral. Ademais, a pesquisa buscou fazer uma amostragem da visão de Elizabeth Bishop sobre o Brasil e os brasileiros, através de seus manuscritos, em contraste com as imagens divulgadas pelo texto publicado. / Universidade Federal da Bahia. Instituto de Letras. Salvador-Ba, 2011.

This dissertation argues that the midcentury period from 1945-1967 offers a distinct historical framework in American poetry that bears further study. This position counters most other literary history of this period wherein midcentury poets are divided into schools or coteries based on literary friendships and movements: the San Francisco Beats, the New York School, the Black Mountain poets, the Confessionals, the Black Arts poets, the Deep Image poets, and the New Critics, to invoke only the most prominent designations. Critics also typically share a reluctance to cross gender or racial lines in their conceptualizations of the period. Of the few books that survey this period as a whole, most propose the defining features of midcentury poetry as formal innovation (or lack thereof) and a renunciation of the past. By contrast, I argue that such divisions and limiting categories do not attend to some of the most important features of midcentury poetry. I suggest that midcentury poetry most often demonstrates a renewed interest in locating a particular identity in a specific place. To illustrate this point, I explore depictions of identity and place in the works of three poets who are rarely studied together, Gwendolyn Brooks, Theodore Roethke, and Elizabeth Bishop. Each chapter examines the changes in poets' careers by focusing on how the relationship between place and identity differs in their early and late work. I contend that the few generalizations we have about the trajectory of this period (that poets moved from using more traditional forms to more open forms, for example) are not entirely accurate and, even more, that the accounts that we have of the poets' individual careers could be enhanced by a comparison between their early and late depictions of identity and place. I argue that the concerted exploration of the intersection of place and identity calls for a reconsideration of midcentury poetry: not just the categories we have but the poets and poems we read.

Submitted by Roberth Novaes (roberth.novaes@live.com) on 2018-08-21T12:52:14Z No. of bitstreams: 4 TESE-DEFINITIIVA-1-103.pdf: 1141191 bytes, checksum: 25a93423ab0c537502fa965871044dca (MD5) TESE-DEFINITIIVA-129-176.pdf: 1002835 bytes, checksum: 185aaeaf933b54a57b1eaddda7f83b56 (MD5) TESE-DEFINITIIVA-214-270.pdf: 2343194 bytes, checksum: 12948b8c7cfb1120139bd536a677e310 (MD5) CAPA.pdf: 240143 bytes, checksum: 998ddac41cbab0e80859b513adc49fed (MD5) / Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-08-21T17:15:18Z (GMT) No. of bitstreams: 4 TESE-DEFINITIIVA-1-103.pdf: 1141191 bytes, checksum: 25a93423ab0c537502fa965871044dca (MD5) TESE-DEFINITIIVA-129-176.pdf: 1002835 bytes, checksum: 185aaeaf933b54a57b1eaddda7f83b56 (MD5) TESE-DEFINITIIVA-214-270.pdf: 2343194 bytes, checksum: 12948b8c7cfb1120139bd536a677e310 (MD5) CAPA.pdf: 240143 bytes, checksum: 998ddac41cbab0e80859b513adc49fed (MD5) / Made available in DSpace on 2018-08-21T17:15:18Z (GMT). No. of bitstreams: 4 TESE-DEFINITIIVA-1-103.pdf: 1141191 bytes, checksum: 25a93423ab0c537502fa965871044dca (MD5) TESE-DEFINITIIVA-129-176.pdf: 1002835 bytes, checksum: 185aaeaf933b54a57b1eaddda7f83b56 (MD5) TESE-DEFINITIIVA-214-270.pdf: 2343194 bytes, checksum: 12948b8c7cfb1120139bd536a677e310 (MD5) CAPA.pdf: 240143 bytes, checksum: 998ddac41cbab0e80859b513adc49fed (MD5) / Esta tese teve como objetivo o estudo e a organização dos manuscritos de trabalho da escritora norte-americana Elizabeth Bishop (1911-1979) relativos aos poemas North Haven e The Armadillo, resultando em uma edição genética. Ao voltar-se para documentos pertencentes à memória cultural, discute a condição do manuscrito moderno nos dias atuais, entendendo que a edição genética se torna uma atividade que tanto atua para a preservação desses documentos frágeis como para a sua circulação, já que busca métodos de apresentação dos manuscritos através de formas variadas de representação textual, quais sejam, o fac-símile, a transcrição, a descrição e o estudo crítico. Além disso, apresenta os contextos relacionados aos poemas editados, como a amizade de Bishop com o poeta Robert Lowell (1917-1977) que lhe garante a sua presença nos círculos literários norte-americanos, ou contratos feitos com a The New Yorker, revista responsável pela veiculação de tais poemas pela primeira vez. A construção teórica da tese associa a crítica genética a conceitos da geografia capazes de iluminar aspectos da criação textual da autora, já que partimos do pressuposto de que há uma tendência em seus escritos de espacializar o real para, assim, traduzi-lo em texto poético. / The objective of this thesis is to study and organize manuscripts of the poems North Haven and The Armadillo, written by the North-American author Elizabeth Bishop (1911-1979) in order to construct a genetic edition. Having the aim to study documents that help maintain cultural memory, the thesis proposes to discuss the condition of the modern manuscript nowadays. The genetic edition is an activity that also helps to preserve those fragile documents and their circulation since it pursues methods of presenting variable forms of textual representation, such as their facsimile, transcription, description, and critical study. Moreover, it presents the specific contexts related to the edited poems; among those are Bishop’s friendship with the poet Robert Lowell (1917-1977) who guarantees her presence in the North-American literary circles, or even her contracts with The New Yorker, the magazine responsible for the circulation of The Armadillo and North Haven for the first time. The theoretical construction of this thesis associates genetic criticism with geographical concepts such as space and multiterritoriality, which are capable to illuminate some aspects of Bishop’s textual creation. We have the assumption that there is a tendency, in her writings, to focus on space around her to translate it into poetry.

Submitted by Roberth Novaes (roberth.novaes@live.com) on 2018-09-27T13:41:35Z No. of bitstreams: 1 DISSERTAÇÃO RAQUEL BORGES DIAS.pdf: 20222510 bytes, checksum: be03b4ac9ea17c063e1b55b84632eb5e (MD5) / Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-09-28T19:35:20Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO RAQUEL BORGES DIAS.pdf: 20222510 bytes, checksum: be03b4ac9ea17c063e1b55b84632eb5e (MD5) / Made available in DSpace on 2018-09-28T19:35:20Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO RAQUEL BORGES DIAS.pdf: 20222510 bytes, checksum: be03b4ac9ea17c063e1b55b84632eb5e (MD5) / O presente estudo analisou o processo de criação da peça Um Porto para Elizabeth Bishop (2001), um monólogo para ser encenado, escrito por Marta Góes. A peça faz uma releitura da vida e da obra de Elizabeth Bishop, uma das maiores poetisas do século XX que, nas décadas de 50 e 60, residiu no Brasil. Buscou-se entender como se desenvolveu o processo de escritura da referida peça, cujos primeiros indícios podem ser identificados no manuscrito disponibilizado pela dramaturga. A fim de analisar esse processo de criação, os estudos da Crítica Genética serviram de embasamento teórico-metodológico, partindo de reflexões propostas especialmente pelos geneticistas Almuth Grésillon (1994) e Pierre-Marc de Biasi (2000). Foi proposta e realizada uma edição genética do material disponível a fim de tornar acessível o referido manuscrito de Marta Góes às pessoas que se interessam por essas áreas de conhecimento. / This study has analyzed the creative process of a dramatic monologue to be performed on stage, called A Safe Haven for Elizabeth Bishop, first published in Brazil as Um Porto para Elizabeth Bishop (2001), by Marta Góes. The play recreates the life and work of Elizabeth Bishop, one of the greatest poets of the twentieth century, who lived in Brazil in the fifties and sixties. We have sought to understand how the writing process of the play has taken place by retracing the first indexes of such process identified in the manuscript provided by the author. In order to develop the referred analysis of such creative process, we have used Genetic Criticism as its theoretical and methodological basis, especially taking into account reflections by the geneticists Almuth Grésillon (1994) and Pierre-Marc de Biasi (2000). A genetic edition of the available material was proposed and developed in order to make the writing process of Marta Góes’s play accessible to people who are keen on studying such a field of interest.

The purposes of this study were (a) to determine the significant events leading to the relocation of Bishop College, (b) to describe the programs offered at the college, (c) to identify a president and describe his impact on policy and programs in the college, (d) to describe the student population that attended the college during the period studied, and (e) to identify the causes and subsequent events which led to the closing of the college.

While much is known about the polarities of the Protestant 'Church Struggle' (Kirchenkampf) in Nazi Germany, comparatively little is understood about the complex and collective dynamic of the Landesbischöfe of the only three 'intact' churches to escape incorporation into the Nazi-dominated Reichskirche. Traditionally, literature on the Kirchenkampf has taken a simplistic 'good-versus-evil' approach to the conflict and, arguably inspired by a moral need to come to terms with the less-than-glorious past of the German Protestant Church, has been unable to locate the Landesbischöfe of the 'intact' churches neatly within the conventional historiographical paradigm. By taking as its subject Landesbischöfe August Marahrens of Hanover, Hans Meiser of Bavaria and Theophil Wurm of Wûrttemberg, this dissertation examines the contribution to the Kirchenkampf of three men, who, to ensure the continued existence of German Protestantism in the Third Reich, were ultimately forced to find ways to respond to National Socialism that lay somewhere between the parameters of defiance and compliance. In order to demonstrate the collective contribution of the Landesbischöfe to maintaining the status of the German Protestant Church amidst heightening Nazi tyranny, this dissertation traces how, with reference to external personal, political and socio-cultural conditions, the bishops moved from a seeming commonality of cause to display increasingly varied responses to the manifestations of both political and ecclesiastical National Socialism. By tracing the development of their moderate but nonetheless disparate positions, this dissertation not only questions the traditional historiographical assumptions that Landesbischöfe Marahrens, Meiser and Wurm failed to resist National Socialism effectively or were, at best, collectively neutral in the conflict, but also seeks to delineate, for the first time, the crucial parts played by each of the Landesbischöfe during three distinct stages of the Kirchenkampf. In devoting each of its three central chapters to a particular phase in the conflict, this dissertation demonstrates how each of the Landesbischöfe in turn steered the 'intact' ensemble through the Third Reich as a modest yet effective force of opposition to Nazi despotism. Seen as a whole, this investigation ultimately demonstrates how, through their respective turns at national Church leadership, Landesbischöfe Marahrens, Meiser and Wurm did not undermine the wider Church resistance effort but, rather, saved the Church from subjugation to Nazism more effectively than would have been possible had they stood alone.

Arvo Pärt's Concerto Piccolo über B-A-C-H for trumpet, strings, harpsichord, and piano is a brief yet challenging work in the trumpet repertoire. A carefully articulated performance guide is necessary to aid trumpeters in overcoming the numerous musical challenges presented in this piece. Currently, there is no resource that helps in solving performance choices and difficulties in this work. This first section of this document provides historical and contextual information on Arvo Pärt, his compositional output during his experimental period, and subsequently, Concerto Piccolo. The second section includes a performance analysis of the work, while the third gives trumpet players pedagogical suggestions and practical exercises for proper preparation of Concerto Piccolo. This guide presents performers with relevant background, analytical, and pedagogical information required for an informed and high-level performance.