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Orientador: Paulo Sérgio de Vasconcellos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-19T07:52:51Z (GMT). No. of bitstreams: 1 Bem_LucyAnade_D.pdf: 4739466 bytes, checksum: 07de6a500d21d7d628f0229466d92ca1 (MD5) Previous issue date: 2011 / Resumo: O objetivo desta tese é demonstrar como, nos Amores, Ovídio retomou e reelaborou matéria de diversas fontes para compor sua obra. Sêneca Velho, nas suas Controuersiae (em especial, II 2, 8), revela-nos os possíveis influxos da retórica escolar na obra do poeta. Em nossa análise, demonstramos que a retórica está presente como uma forma de estruturar certas elegias (como as suasoriae) e que também é uma ferramenta útil para nos ajudar a compreender a obra (sobretudo, a relação construída entre auctor/opus/lector). Indicamos a presença de elementos típicos de diversos gêneros como a épica, a comédia, a tragédia e mesmo a poesia jâmbica: Ovídio parece deixar claro que essa "presença" é um fator constitutivo de sua obra. A confluência genérica resultante dessas relações discursivas está mais evidente em poemas programáticos, de cunho metapoético (através do topos da recusatio, por exemplo), mas também não se ausenta por completo das demais elegias. No constructum elegíaco elaborado por Ovídio nos Amores, a persona de seu poetaamante discute poesia enquanto narra as aventuras amorosas com a persona da puella, que se identifica com a própria Elegia (cf. Am. III 1). Nesse sentido, Ovídio nos mostra que, em sua obra de estreia, seu protagonista vive em um universo discursivo construído na pluralidade, no qual experimentar amores (as relações amorosas) proporciona a composição dos Amores (as elegias de temática erótica) / Abstract: The aim of this thesis is to show how, in Loves, Ovid retook and reworked material from several sources to constitute his work. Older Seneca, in his Controuersiae (specially in II 2, 8) reveals the possibility of some influxes from school rethoric on the Ovid's poetry. In our analysis, we indicated that rhetoric is present like a mean of structure some elegies (like suasoriae) and also like a useful tool that helps us to understand the whole work (mainly, the constructed relation among auctor/opus/lector). We also demonstrate the presence of tipicals elements from other genres like epic, commedy, tragedy and even iambic poetry: Ovid seems to reveal that this "presence" is a factor that openly constitute his poetic labour. The generic confluence that results from these discursives relationships is more manifest in programmatic poems, with metapoetical character (through the topos of recusatio, for exemple), but is not missing at all from the others elegies. In this discursive elegiac constructum elaborated by Ovid in the Amores, the poet-lover persona considers about poetry while tell us about his amorous adventures with the puella persona who identify herserf with Elegy (cf. Am. III 1). In this sense, Ovid show us that, in his first work, his protagonist lives in a discursive world based on plurality, in wich experiences in loves (relationships) provides the composition of The Loves (Latin erotic elegy) / Doutorado / Linguistica / Doutor em Linguística

Critical comment on Old English elegiac poetry is discussed from the following three standpoints: definition of the genre 'elegy'; interpretations of representative elegiac poems; stylistic analysis. The theories of critics are evaluated, with the aim of establishing the features of elegiac poetry in Old English and assessing the adequacy of critical coverage of them to date. Not many critics have attempted to define the Old English, elegy as a genre, and their definitions tend to be either too vague or too restrictive, needing to be qualified in a number of ways. However, it appears that the elegy in Old English is an abstract kind of poetry. It presents a state of mind rather than a specific person or event. In addition, there are certain recurrent features by which the genre can be defined. The elegy presents the viewpoint of an individual, usually in monologue form. It often contains structural elements which are conventionale. The typical themes of elegy are separation from a loved one, exile, banishment, the contrast between present desolation and past or absent happiness. These themes are associated with conventional descriptions, the recurrent features of which extend to quite small particulars of wording and imagery. Interpretations of the following elegiac poems are discussed: The Seafarer, The Wanderer, The Ruin, The Wife's Lament, The Husband's Message, Wulf and Eadwacer. Critical theories regarding these poems show, by and large, a change from considering them primitive and pagan (sometimes with Christian interpolations) to stressing their sophistication, unity, and essential Christianity. It is, on the whole, a change for the better, but the sophistication and the Christian element now tend to be overemphasised, especially by those critics who interpret the poems as allegories. Present interpretations show two main trends: a tendency to relate the poems to Latin influence, often patristic, and a movement towards closer investigation of the poems by internal evidence alone, without regard to sources and analogues. Stylistic studies have mostly considered Old English poetry as a whole, rather than any particular branch of it, but although the elegies employ the same formal devices as the rest of the poetry, they tend to handle them in a freer and more personal way. Also, the tendency of Old English poetry to use external description with a symbolic purpose is particularly shown in the elegies, which make an extensive use of natural description as a vehicle of mood. There has been a change in stylstic analysis similar to that in interpretation. Instead of regarding Old English poetry as unsophisticated, as earlier scholars tended to do, modern critics stress its subtlety and skilful integration, both structurally and syntactically. This change of attitude has affected criticism of the elegies, although the focus has not usually been specifically on them. The stylistic investigations which have shed most light on the elegy as a type have been the formulaic analyses. Apart from the formulaic studies, there has been little direct stylistic examination of elegiac poetry, and it is here that most remains to be done, as regards both formal devices and the looser patterns of imagery and description. / Arts, Faculty of / English, Department of / Graduate

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Thesis (Ph. D.)--University of Stockholm, 1994. / Includes bibliographical references (p. 299-307) and indexes.

Thesis (Ph. D.)--University of Stockholm, 1994. / Includes bibliographical references (p. 299-307) and indexes.

Theses (M.A.)--Marshall University, 2007. / Title from document title page. Includes abstract. Document formatted into pages: contains iii, 86 pages. Bibliography: p.82-86.

'1603. The Wonderfull Yeare: Literary Responses to the Accession of James I' argues that when James VI of Scotland was proclaimed James I of England on 24 March 1603, the printed verse pamphlets that greeted his accession presented him as a figure of hope and promise for the Englishmen now subject to his rule. However, they also demonstrate hitherto unrecognized concerns that James might also be a figure of threat to the very national strength, Protestant progress, and moral, cultural, and political renaissance for which he was being touted as harbinger and champion. The poems therefore transform an insecure and undetermined figure into a symbol that represents (and enables) promise and hope. PART ONE explores how the poetry seeks to address the uncertainty and fragility, both social and political, that arose from popular fears about the accession; and to dissuade dissenters (and make secure and unassailable the throne, and thereby the state of England), through celebration of the new monarch. Perceived legal, political, and dynastic concerns were exacerbated by concrete difficulties when James was proclaimed King of England, and so he was more than fifty miles from the English border (only reaching London for the first time in early May); his absence was further prolonged by plague; this plague also deferred the immediate sanction of public festivities that should have accompanied his July coronation. An English Jacobean icon was configured in literature to accommodate and address these threats and hazards, neutralizing fears surrounding the idea of the accession with confidence in the idea of the king it brings. In the texts that respond to James's accession we observe his appropriation as a figure of hope and promise. PART 2 looks to more personal hopes and fears, albeit within the national context. It considers how the poets engage with the King's own established iconography and intentions, publicly available to view within his own writing - and especially poetry. The image that is already established there has the potential either to obstruct or to enable national and personal causes and ambitions (whether political, religious, or cultural). The poetry therefore develops strategies to negotiate with and so appropriate the King's own self-fashioning.

Five Kingdoms. (Under the direction of Don Stap.) Five Kingdoms is a collection of 55 poems in three sections. The title refers to the five kingdoms of life, encompassing every living thing. Section I explores political themes and addresses subjects that reach across a broad expanse of time--from the oldest bones of a child and the oldest map of the world to the bombing of Fallujah in the current Iraq war. Connections between physical and metaphysical worlds are examined. The focus narrows from the world to the city in section II. The theme of shelter is important to these poems, as is the act of being a flâneur. The search for shelter, physical and spiritual, is explored. The third section of Five Kingdoms narrows further to the individual. Political themes recur, as do ekphrastic elements, in the examination of individual lives and the search for physical and metaphysical shelter. The title poem "Five Kingdoms," was written on the 60th anniversary of the atomic bombing of Hiroshima on August 6, 1945. This non-narrative poem is composed of a series of questions for the reader regarding personal and national security. It is a political poem that uses a language of fear and superstition to question what we are willing to sacrifice to be safe and what "safety" means. The poem ends with a call to action: "Before you break in two, categorize/the five kingdoms, count all the living things." The poems in this manuscript are a kind of counting that pays attention to the things of the world through praise and elegy. The poems in Five Kingdoms are indebted to my reading of many poets, in particular Michael Burkard, Carolyn Forché, Brenda Hillman, Tony Hoagland, Kenneth Koch, Philip Levine, Denise Levertov, Jane Mead, W.S. Merwin, Pablo Neruda, Frank O'Hara, Mary Oliver, Adrienne Rich, and Mark Strand.