This thesis analyzes the first two poetry collections by Vladimir Holan - Triumf smrti (1930, revision 1936, 1948) and Vanutí (1932). At first, it focuses on identifying their rhythmic structure, its constants and the successive transformations. Particular attention is given to reprocessing of collection Triumf smrti - in the analysis of its three variants to see, how did the Holan's conception of poetic rhythm developed and its relationship to semantics of poetic text and its transformations. Part of exploration is to determine the function of poetic rhythm constants in individual collections, accompanied by an attempt to demonstrate that the relationship of rhythm, euphony and instrumentation of verse and their interaction belongs to the basic components of Holan's lyricism in this period. Furthermore, the work deals with the semantics of these Holan's collections, especially analysis of the basic features of his metaphor and metonymy, their mutual relationship, changes of the metaphors into metonymy and overgrowth in the context of poetic text into symbols. The purpose of the work is to show that the essence of poetic semantics in these collections lies in the specificity and uniqueness of their poetics, from which it is inevitably born, grows and shapes.

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This dissertation examines the relationship between phonetic sound and content in Latin poetry, with a focus on Books 1-3 of Horace's Odes. The central argument is that a relationship exists between sound and content in poetry, that this can be analysed and described more thoroughly and systematically than is usually the case, and that the appreciation of poetry can be enhanced by doing so. Part 1 presents a scheme for describing the sound-content relationship, and argues that this accurately reflects the perceptions of poetic audiences and is psychologically valid. The scheme begins with the concept of the 'sonance', defined as any set of sounds that renders a passage sonically noteworthy. Sonances that relate to content are classified either as 'harmonic sonances', which relate to content due to the properties of the relevant sounds, or 'repetitive sonances', which relate to content purely due to the repetition (including patterning or contrasting) of sounds, regardless of their properties. Harmonic sonances, it is argued, may relate to content through four 'harmonies', depending on whether acoustic or articulatory properties are involved and whether the relationship is one of similarity between property and content or a more distant 'metaphor'. Repetitive sonances may relate to content by several different means, or 'modes of repetition'. Part 2 presents a simple method of numerical analysis which may be applied to the text by computer to extract passages that are relatively likely to contain a sonance, and briefly discusses the process of assessing these results, identifying further sonances by more natural means, and relating each sonance to the relevant content. As an essential preliminary to such matters, Latin phonetics and phonology are also discussed in detail. Parts 3 and 4 present the results of applying these resources of assessment and description to the text, to demonstrate the type of poetic appreciation which may thus be gained. Part 3 consists of two catalogues of harmonic and repetitive sonances taken from the whole of Odes 1-3. Part 4 is a specific examination of two entire odes in much greater detail. / Thesis (Ph.D.)--Humanities, 2004.

This thesis analyzes the poetics of Holan's Triumf smrti (1930, revised in 1936, 1948, 1965), collections written in the period of neosymbolism - Vanutí (1932, ultimately revised in 1965), Oblouk (1934, ultimately revised in 1965) and Kameni, přicházíš… (1937, ultimately revised in 1965) as well as collections reacting to the Munich Agreement and following historical events - Odpověď Francii (written in 1938, first published as late as 1946 in the compilation Havraním brkem), Září 1938 (1938), Zpěv tříkrálový (written in 1938-1939, first published as late as 1946 in the compilation Havraním brkem), Sen (1939), Chór (1941). In the first place, the thesis focuses on identifying the rhythmic structure of the individual collections, their constants and gradual transition. Part of the exploration of poetics is the determination of the function of the rhythmic constants in the individual collections, accompanied by an attempt to demonstrate that the rhythmic building of verse together with its instrumentation belongs to the essential components of Holan's poetics of that period. Furthermore, the thesis deals with the semantics of Holan's poetics in the given collections of his, especially the analysis of the basic features of the poet's metaphor and metonymy, their mutual relationship and permeation....