A presente dissertação é resultado da aplicação da abordagem analítica posterior à Virada Cognitiva à análise dos Duelos de Cantoria, um fenômeno que ocorre no nordeste brasileiro desde a segunda metade do século XIX e que permanece vivo até os dias atuais. Duelos de Cantoria têm sido pesquisados em geral em abordagens históricas ou antropológicas, e este trabalho se assenta sobre este corpo de análises agregando o campo analítico aberto pelas teorias cognitivas e evolucionárias ao esforço de estudo deste fenômeno cultural. A tensão sobre o Cantador - Duelista para compor poemas rimados durante o evento ao vivo, bem como os schemas e frames empregados na composição das estrofes em tempo real, nos servem de ponto-de-partida para o estudo. Alguns fenômenos resultantes são também estudados, como o aspecto de duelo do Duelo de Cantoria e como ele é construído em forma de \"parceria no dissenso\" como uma forma específica de narrativa distribuída, e a operação destas narrativas, e das narrativas de narrativas, em um contexto social mais amplo. A análise está centrada em torno de eventos que ocorreram durante a segunda metade do Século XIX e primeira metade do Século XX, e que foram posteriormente registrados na forma escrita por críticos contemporâneos ou quase contemporâneos aos eventos. / This dissertation is the result of applying the post-Cognitive Turn analytical approach to the analysis of Singing Duels, a cultural phenomenon occurring in North-eastern Brazil since the second half of the 19th. century that can be witnessed to this day. Singing Duels have generally been analysed using either historical or anthropological approaches, and this work builds on this body of analyses by adding a layer of cognitive and evolutionary theories into the analytical effort of the phenomenon. The stresses put on the performer - the Duellist - in composing rhymed poems due to the live nature of the event, as well as the schemas and frames utilized in composing strophes in real time, serve as the starting point of the analysis.Following, some consequent phenomena are analysed, such as the duelling aspect of the Singing Duel and how it is constructed as a \"partnership in dissent\" into a specific form of distributed narrative, and the operation of such narratives, and narratives of narratives, within a broader social context. The analysis is centred mostly around events that occurred during the second half of the 19th century and the beginning of the 20th century, and were later recorded in written form by early, contemporary critics.

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La thèse actuelle propose un modèle interactif de capacité métalinguistique, de poésie et d'apprentissage des langues étrangères. Elle vise à examiner l'influence du cours d'anglais langue étrangère basé sur la poésie sur la capacité métaphonologique des élèves, et à explorer des relations entre leur capacité métaphonologique et les facteurs d'apprentissage tels que la pédagogie des enseignants, les stratégies d'apprentissage des langues des apprenants, l'exposition linguistique à l’anglais en dehors de la classe et les commentaires des élèves sur le cours d’anglais auquel on a intégré de la poésie. Deux études de cas visent à enquêter sur le développement de la capacité métaphonologique des élèves dans le cours d’anglais avec poésie, ainsi que les relations mentionnées ci-dessus. Une combinaison de méthodes quantitatives et de méthodes qualitatives est utilisée dans cette thèse. Les résultats de la quasi-expérience indiquent que la classe d'anglais prenant appui sur la poésie facilite le développement de la capacité métaphonologique des élèves dans une certaine mesure. La théorie de Bialystok (2001, 2012), la « noticing hypothesis » de Schmidt (Schmidt, 2010) et la poétique cognitive de Tsur (2008) sont utilisées pour analyser et expliquer les résultats des tests de capacité métaphonologique. / The present study proposes an interactive model of metalinguistic awareness, poetry and foreign language learning. It aims at examining the influence from poetry-embedded class of English as a foreign language on pupils’ phonological awareness, with considering the relations between their phonological awareness and the factors in ecological learning environment that includes teacher’s instruction, learners’ language learning strategies, linguistic exposure to English that learners receive outside of classroom, and pupils’ feedback on the poetry sequence. Two case studies are conducted to probe into the development of pupils’ phonological awareness in the context of poetry-embedment English class, as well as the relations mentioned above. A combination of quantitative methods and qualitative methods are employed in the current study. The results of quasi-experiment of phonological awareness indicate poetry-embedment English class globally facilitates the development of pupils’ phonological awareness to some extent. Bialystok’s theory (2001, 2012) Schmidt’s noticing hypothesis (Schmidt,2010), and Tsur’s cognitive poetics (2008) are employed to interpret the results of phonological awareness tests.

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<p>The dissertation is a study of the poetics of haikai in eighteenth-century Japan. It is more specifically concerned with the works of Yosa Buson and some of his followers. Rather than being a study of certain poems, it is an investigation of theories of aesthetics and composition, and of criticism. Most studies of haikai focus on the short haiku (or hokku) form, but the present study is more concerned with the core form of this poetry, the long chains of verses called "renku" or "haikai no renga".</p><p>One important object of this study is to challenge some of the established views of haikai found in modern scholarship. For this purpose, many standpoints of haikai theory have been found useful, since they often approach questions of interpretation from new and unexpected angles. Theoretical stances that stress convention and traditionalism are criticized and the spirit of haikai is found to be more in concord with theories of cognitive poetics.</p><p>The dissertation consists of three parts. The first is a study of general haikai theory. In this part are discussed theories of aesthetics, theories of creativity, and a few questions related to the interpretation of this kind of poetry. This discussion focuses on those questions that are central in Buson’s own writing on poetics and puts them into a broader context.</p><p>The second part deals with practical theories of renku composing. An introductory chapter gives a historical background to many concepts used in Buson’s age, and this is followed by a full translation and critical study of a renku treatise written by his disciple Takai Kitō.</p><p>The last part is an investigation of modern criticism written on Buson’s renku. All existing full-length studies of these poems are discussed in comparison. The absence of a long critical tradition concerning Buson’s renku has, in many cases, prevented the formation of established interpretations, and this is ideal for a study of this kind.</p>

‘The poet’, Eliot wrote, ‘is occupied with frontiers of consciousness beyond which words fail, though meanings still exist’. This dissertation is an investigation into the ways in which four poets – Alfred Tennyson, Thomas Hardy, Gerard Manley Hopkins, and T. S. Eliot – imagine what it might mean to labour in verse towards the ‘frontiers of consciousness’. This is an old question about the value of poetry, about the kinds of understanding, feeling, and participation that become uniquely available as we read (or write) verse. But it is also a question that becomes peculiarly pressing in the nineteenth- and early twentieth-centuries. In my introductory chapter, I sketch out some of the philosophical, theological, and aesthetic contexts in which this question about what poetry might do for us becomes particularly acute: each of these four poets, I suggest, invests in verse as a means of sustaining belief in those things that seem excluded, imperilled, or forfeited by what is felt to be a peculiarly modern or (to use a contested term) ‘secularized’ understanding of the world. To write poetry becomes a labour towards enabling or ratifying otherwise untenable experiences of belief. But while my broader concern is with what is at stake philosophically, theologically, and even aesthetically in this labour towards the frontiers of consciousness, my more particular concern is with the ways in which these poets think in verse about how the poetic organisation of language brings us to momentary consciousness of otherwise unavailable ‘meanings’. For each of these poets, it is as we begin to listen in to the paralinguistic sounds of verse that we become conscious of that which lies beyond the realms of the linguistic imagination. These poets develop figures within their verse in order to theorize the ways in which this peculiarly poetic ‘music’ brings us to consciousness of that which exceeds or transcends the limits of the world in which we think we live. These figures begin as images of the half-seen (glimmering, haunting, dappling, crossing) but become a way of imagining that which we might only half-hear or half-know. Chapter 2 deals with Tennyson’s figure of glimmering light that signals the presence, activity, or territory of the ‘higher poetic imagination’; In Memoriam, I argue, represents the development of this figure into a poetics of the ‘glimpse’, a poetry that repeatedly approaches the horizon of what might be seen or heard. Chapter 3 is concerned with Hardy’s figuring of the ‘hereto’ of verse as a haunted region, his ghostly figures and spectral presences becoming a way of thinking about the strange experiences of listening and encounter that verse affords. Chapter 4 attends to the dappled skins and skies of Hopkins’ verse and the ways in which ‘dapple’ becomes a theoretical framework for thinking about the nature and theological significance of prosodic experience. And Chapter 5 considers the visual and acoustic crossings of Eliot’s verse as a series of attempts to imagine and interrogate the proposition that the poetic organisation of language offers ‘hints and guesses’ of a reality that is both larger and more significant than our own.

The dissertation is a study of the poetics of haikai in eighteenth-century Japan. It is more specifically concerned with the works of Yosa Buson and some of his followers. Rather than being a study of certain poems, it is an investigation of theories of aesthetics and composition, and of criticism. Most studies of haikai focus on the short haiku (or hokku) form, but the present study is more concerned with the core form of this poetry, the long chains of verses called "renku" or "haikai no renga". One important object of this study is to challenge some of the established views of haikai found in modern scholarship. For this purpose, many standpoints of haikai theory have been found useful, since they often approach questions of interpretation from new and unexpected angles. Theoretical stances that stress convention and traditionalism are criticized and the spirit of haikai is found to be more in concord with theories of cognitive poetics. The dissertation consists of three parts. The first is a study of general haikai theory. In this part are discussed theories of aesthetics, theories of creativity, and a few questions related to the interpretation of this kind of poetry. This discussion focuses on those questions that are central in Buson’s own writing on poetics and puts them into a broader context. The second part deals with practical theories of renku composing. An introductory chapter gives a historical background to many concepts used in Buson’s age, and this is followed by a full translation and critical study of a renku treatise written by his disciple Takai Kitō. The last part is an investigation of modern criticism written on Buson’s renku. All existing full-length studies of these poems are discussed in comparison. The absence of a long critical tradition concerning Buson’s renku has, in many cases, prevented the formation of established interpretations, and this is ideal for a study of this kind.

Cognitive poetics, the recently developed field of literary theory which utilizes principles from cognitive science and cognitive linguistics to examine literature, is applied in this study to an exploration of the poetry of William Butler Yeats. The theoretical foundation for this approach is embodiment theory, the concept from cognitive linguistics that language is an embodied phenomenon and that meaning and meaning construction are bodily processes grounded in our sensorimotor experiences. A systematic analysis including conceptual metaphors, image schemas, cognitive mappings, mental spaces, and cognitive grammar is applied here to selected poems of Yeats to discover how these models can inform our readings of these poems. Special attention is devoted to Yeats's interest in the mind's eye, his crafting of syntax in stanzaic development, his atemporalization through grammar, and the antinomies which converge in selected symbols from his poems.

How we approach a poem changes it. Recently, it has been suggested that one readerly approach - a bodily orientation characterised by distance, suspicion, and resistance - risks becoming reflexive, pre-conscious, and predominant. This use-oriented reading allows us to destabilise, denaturalise, dissect, defend, and define poetic texts through its manifestation in contemporary literary critique, yet it is coming to be regarded as the sole manner and mood of intelligent, intellectual engagement. In this thesis, I demonstrate the need to pluralise this attentive orientation, particularly when it comes to contemporary lyric poetry. I suggest how an overlooked mode of response might foster a more receptive mode of approach: the 'co-creative' response. Lyric poems mean to move us, and they come to mean by moving us. Recent 'simulation theories of language comprehension', from the field of cognitive neuroscience, provide empirical evidence that language processing is not a product of a-modal symbol manipulation but rather involves 'simulations' by certain classes of neurons in areas used for real-world action and perception. As habituation and abstraction increase, however, these embodied simulations 'streamline', becoming narrow schematic 'shadows' of once broad, qualitatively rich simulations. Poems, I suggest, seek to reverse this process by situationally novel variations of language, coming to mean in the broadly embodied sense in which real-world experiences 'mean'. Readers are asked to 'enact' the poem, to 'co-create' its meaning. Where critique traditionally requires that readers resist enactive participation in the aim of objective analysis, the co-creative response - a response 'in kind' by imitation, versioning, or hommage - asks readers to receive and carry forward the enactive unfolding of a poem with a composition of their own. I assert that, by thus responding with - rather than to - poems, we might foster an attentive stance of active receptivity, thereby coming to understand poems as the enactive phenomena they are.

Cette thèse présente une analyse linguistique d’une sélection de poèmes de John Keats, et plus précisément celle de l’expression et de la verbalisation de l’émotion à travers le langage dans les vingt-six poèmes qui composent le corpus poétique et qui constituent le point de départ de cette recherche. L’approche linguistique privilégiée est une approche cognitive, basée sur les théories de la linguistique cognitive, de la grammaire cognitive, et de la poétique cognitive. La théorie de la métaphore et de la métonymie conceptuelles joue également un rôle important dans les analyses poétiques et grammaticales présentées dans cette thèse. L’émotion est conçue comme embodied (incarnée). Son étude s’appuie sur les travaux des cognitivistes, sur la philosophie et sur les recherches en neurobiologie. L’objectif de cette thèse est d’examiner les manières dont l’émotion s’exprime au sein de la poésie keatsienne par une interrogation approfondie de la langue elle-même, en partant donc du principe que les éléments lexicaux et grammaticaux – et leur signification – qui composent les poèmes s’avèrent essentiels pour bien rendre compte de la traduction poétique de l’expérience émotionnelle. / This thesis presents a linguistic analysis of a selection of poems by John Keats: specifically, the expression and verbalization of emotion by way of language the twenty-six poems that compose the poetic corpus upon which this research is founded. The linguistic approach taken is a cognitive approach, based on the theories of cognitive linguistics, cognitive grammar, and cognitive poetics. Conceptual Metaphor and Metonymy Theory also play an important role in the poetic and grammatical analyses. The approach concerning emotion is an embodied one, based in language, philosophy, and with support from neurobiological research. The goal of this thesis is to examine the ways in which emotion is expressed within Keatsian poetry by a close interrogation of the language itself, thus holding the view that the lexical and grammatical elements—and their semantics—that compose the verses and poems themselves are essential to the salience of the poetic rendering of emotional experience.