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The Global ETD Search service is a free service for researchers
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Showing 1 to 8 of 8 (0.041 seconds)Spelling suggestions: "subject:"xylan thomas"" "subject:"xylan khomas""
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"The Living Skein": A Stylistic Study of Dylan ThomasFranco, June W. 05 1900 (has links)
This study examines rhythm, syntax, sound, and diction in selected early and late poems from Dylan Thomas's Collected Poems. It demonstrates, on the basis of stylistic evidence, that the later poetry is the greater achievement. The early and later poems are different in the area of rhythm. Early poems are regularly metered with a strong iambic beat, and a majority of lines are end-stopped. Rhythms in the later, finer poems are irregular, and enjambed lines predominate. The later poems show an increased ability to match rhythm with meaning. Dylan Thomas's syntax is simpler on the surface than ordinarily supposed. Early poems contain restrictive relative clauses that result in complex deep structure and sentence stacking. The later poems contain appositive relative clauses, a change in style that results in greater clarity. Repetitive patterning is frequent during both poetic periods. Thomas shows his greatest virtuosity in the area of sound. Many techniques are common to both periods, but his achievement in making sound functional in the later poetry gives it greater dimension. In creating his unique poetic voice, Dylan Thomas uses both old and new devices. Common and uncommon rhetorical figures abound in both periods, but, in common with the other stylistic elements, the figures are used more effectively in the later poetry. On the basis of an examination of the stylistic elements of rhythm, syntax, sound, and diction, this study demonstrates a greater level of achievement in the last poems of Dylan Thomas.
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A Production Study of Under Milk Wood by Dylan ThomasSavage, Michael T. January 1964 (has links)
No description available.
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Radio texts : the broadcast drama of Orson Welles, Dylan Thomas, Samuel Beckett, and Tom StoppardJesson, James Roslyn 26 October 2010 (has links)
Radio drama developed as a genre as new media proliferated and challenged the cultural primacy of print. The methods of production and distribution and the literary genres that developed during the age of print provided models for radio playwrights to follow but also cultural forces for them to challenge. This dissertation considers these dual influences of print on the radio drama of four playwrights: Orson Welles, Dylan Thomas, Samuel Beckett, and Tom Stoppard. Each playwright “remediates” the printed page in radio plays by adapting or evoking the form of various literary texts, including novels (Welles), travel writing (Thomas), diaries and transcribed speech (Beckett), and historical writing (Stoppard). By representing written texts in an electronic, primarily oral medium, these authors examined the status of literary expression in an age of ascendant electronic media. Welles’s The War of the Worlds and Huckleberry Finn, Thomas’s Under Milk Wood and other broadcasts, Beckett’s Rough for Radio II and Embers, and Stoppard’s In the Native State highlight defining features of the print tradition and reveal how practices of writing and “reading” changed in the radio environment. These plays suggest that radio prompted writers to reconsider the literary author’s creative role, the text’s stability, and the audience’s interaction with the work. “Radio Texts” ultimately argues, therefore, that radio drama’s significance transcends its place in media history and dramatic criticism; the works I examine also point to radio plays’ important role in authors’ re-evaluation of literary expression in a changing twentieth-century media ecology. / text
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The Force is with You: Dylan Thomas's Force as it Exists in His Poetry and Drama.Archer, Josh 18 August 2004 (has links) (PDF)
In Dylan Thomas's poetry, he refers to an inexorable, amoral force that exists within the universe. This force exists in all things, yet cannot be manipulated. His first collection, 18 Poems, serves as the premier source for defining and understanding the existence of this force. Two poems in particular, "A Process in the Weather of the Heart" and "The Force that Through the Green Fuse Drives the Flower," provide the most comprehensive examination of the force. However, his idea of the force is not confined to his poetry. During the last years of his life, he completed a play titled Under Mile Wood, which explores the treatment of the force. Within the play Thomas presents life as it exists in the small, seaside town of Llareggub. The town and its inhabitants are subject to the force, which results in the characters' unique eccentricities.
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An Analysis of Language in the Poetry of Dylan ThomasRees, Graham 08 1900 (has links)
<p>Dylan Thomas belongs to an exclusive group, the Anglo-Welsh poets, who, throughout most of English literary history, have either chosen or have been compelled to write in English rather than in Welsh, a situation which offers someone interested in language analysis an opportunity to study its several implications. Perhaps, in the not too distant future, the way in which human beings think and learn a language will be satisfactorily determined. In what language does a bi-lingual person think? Does a human being think in words or pictures? What emotive value do words possess? Is there an on-going tension between the first language and the acquired language or languages, or, as in Thomas' case, the first family language which he could not speak fluently and the alien language which became his lingua franca? To what extent do the latent influences such as personal associations, family background, interests, ancestry, ultimately affect the nature of writing? At present, in the world of critical thought on these subjects, we are still "on a darkling plain" where "ignorant armies clash by night".</p> <p>Literary critics have often dismissed Dylan Thomas' poetry, and particularly his figurative language, as excessively esoteric and complex. This study will, I hope, go some way to meet this criticism by examining in some detail the dynamics of Thomas' diction, metaphor, and symbolism, as necessary components of a style that is both original and essential to the manifestation of a truly private metaphysical vision. In this study I will attempt to identify the elements that characterize his style: in short, to establish why his poems are the way they are.</p> / Master of Arts (MA)
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Překlady a poezie členů Skupiny 42 / Translations and poetry by the authors of Group 42Eliáš, Petr January 2020 (has links)
The thesis focuses on texts written and translated by members of Group 42, Jiřina Hauková and Jiří Kolář, specifically. It begins with a description of 1940s' literary context, incorporating poetical principles stated by Jindřich Chalupecký, the leading theorist of the Group 42. The research section of the thesis begins with an analysis of Jiřina Hauková's Přísluní and Cizí pokoj and Jiřího Kolář's Křestný list, Ódy a variace and Limb a jiné básně, poetry collections directly influenced and heading towards the poetic principles of the Group 42. This is followed by an analysis of the translations of poems by Dylan Thomas, Carl Sandburg and T. S. Eliot, the key being a comparison of various published versions. In case of Thomas and Sandburg, these are versions by the same translator published in different selections; in case of Eliot, these are versions by different translators. The thesis is concluded by the answer to the question whether and to what extent Jiřina Hauková and Jiří Kolář fulfil the poetic requirements of the Group 42 and to what extent their own poetics are present in the translations.
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An Argument for the Reassessment of Stravinsky's Early Serial CompositionsHughes, Timothy Stephen 12 1900 (has links)
Between 1952 and 1957, Igor Stravinsky surprised the world of music by gradually incorporating serialism into his style of composition. Although Stravinsky still used the neo-classical trait of making strong references to the music of earlier periods, musical analyses of this transitional period have focused on serial aspects to the exclusion of anachronistic elements.
Evidence of Stravinsky's possible use of musical structures adapted from earlier times is found in his consistent use of musical figures that are closely related to the cadences of the late Medieval and Renaissance eras. By fully addressing these neo-classical traits in future analyses, music theorists will gain an additional perspective, which is helpful in understanding the music of Stravinsky's transitional period.
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Confronting eternity : strange (im)mortalities, and states of undying in popular fiction.Bacon, Edwin Bruce January 2014 (has links)
When the meritless scrabble for the bauble of deity, they ironically set their human lives at the “pin’s fee” to which Shakespeare’s Hamlet refers. This thesis focuses on these undeserving individuals in premillennial and postmillennial fiction, who seek immortality at the expense of both their humanities, and their natural mortalities.
I will analyse an array of popular modern characters, paying particular attention to the precursors of immortal personages. I will inaugurate these analyses with an examination of fan favourite series
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