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Inaug. Diss.--Heidelberg. / "Lebenslauf." "Literaturangaben": p. [ix]-xi.

'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.

It is now widely acknowledged that the Greek epic tradition, best known from Homer, dates back into the Mycenaean Age, and that certain aspects of epic language point to an origin for this type of verse before the date of the extant Linear B tablets. This thesis argues that not only is this so, but that indeed before the end of the Mycenaean Age epic verse was composed in a distinctive literary language characterized by the presence of alternative forms used for metrical convenience. Such alternatives included dialectal variants and forms which were retained in epic once obsolete in everyday speech. Thus epic language in the 2nd millennium already possessed some of the most distinctive characteristics manifest in its Homeric incarnation, namely the presence of doublets and the retention of archaisms. It is argued here that the most probable source for accretions to epic language was at all times the spoken language familiar to the poets of the tradition. There is reason to believe that certain archaic forms, attested only in epic and its imitators, were obsolete in spoken Greek before 1200 B.C.; by examining formulae containing such forms it is possible to determine the likely subject-matter of 2nd millennium epic. Such a linguistic analysis leads to the conclusion that much of the thematic content of Homeric epic corresponds to that of 2nd millennium epic. Non-Homeric early dactylic verse (e.g. the Hesiodic corpus) provides examples of both non-Homeric dialect forms and of archaisms unknown from Homer. This fact, it is argued, points to the conclusion that the 2nd millennium linguistic heritage of epic is evident also from these poems, and that they are not simply imitations of Homer, but independent representatives of the same poetic tradition whose roots lie in the 2nd millennium epic.

The musical ode, which developed during the 1660s and 1670s as a means of celebrating occasions of particular significance (often by setting a specially written text), remained popular throughout the eighteenth century, and can be regarded as the earliest form of large-scale secular choral music to have developed in England. This dissertation discusses the nature of the genre (including its relationship with the poetical ode), and surveys the contexts in which odes were composed and performed. It is supplemented by a catalogue which lists some 270 examples of the genre. Among the earliest odes were those written for performance at the court in London. These have already been the subject of musicological study, but although they were the biggest stylistic influence on the other odes written during the late seventeenth and early eighteenth centuries, they were not quite the earliest examples of the species. At the University of Oxford, the practice of performing specially composed odes to enhance academic ceremonial dates from at least 1669, and the custom continued throughout the following century. The odes on St Cecilia's Day also originate in the late seventeenth century, but although the works performed in London between 1683 and 1701 have received some scholarly attention, odes on the same theme written later in the century, along with works performed at a number of provincial centres, have not hitherto been discussed in the context of the wider ode genre. Also neglected have been the birthday odes performed at the Vice-regal court in Dublin during the eighteenth century. These complement the London court odes, but have not previously been listed or discussed in detail. Other odes were written for charitable causes, and to commemorate a miscellaneous array of occasions, including military victories and the inauguration of new buildings. In addition, in the latter half of the eighteenth century, some composers responded to developments in the poetical ode by setting libretti which had no 'occasional' inspiration, but which were notable literary achievements in their own right.

The purpose of this study is to demonstrate that the concept of a godless universe governed by a consciousless and conscienceless Immanent Will in Hardy's poetry is an ineluctable outcome, given the expanded scientific knowledge of the nineteenth century, of the pantheistic views of the English Romantic poets. The purpose is accomplished by tracing characteristically Romantic attitudes through the representative poetry of the early Victorian period and in Hardy's poetry. The first chapter is a brief introduction. Chapter II surveys major Romantic themes, illustrating them in Wordsworth's poetry. Chapter III treats the decline of the Romantic vision in the poetry of Tennyson and Arnold. Hardy's views and the Victorian poets' influence are the subject of Chapter IV. Chapter V demonstrates Wordsworth's influence on Hardy in several areas.

Este trabalho consiste em investigar as relações entre linguagem poética e contexto em A rosa do povo, coletânea de poemas escritos por Carlos Drummond de Andrade entre 1943 e 1945. Entre os 55 poemas da coletânea, há referências, não apenas semânticas, ao Estado Novo, à Segunda Guerra Mundial, ao Nazi-fascismo e à organização problemática do universo urbano-industrial, sempre duma perspectiva que toma partido da Resistência, segundo a ótica do indivíduo lírico. Caracterizada por uma pluralidade temático-formal irredutível a esquemas estruturais, a coletânea encontra a sua coesão na especificidade do lirismo drummondiano. Ao investigarmos aspectos textuais desse lirismo, procuramos compreender os elementos de mediação entre os planos da forma e do significado. / This text researchs relationships between poetic speech and context in A rosa do povo (1943-1945). The poems on the book refer to Estado Novo, Second World War, Nazi-fascism and the problematic urban-industrial universe, under the perspective of Resistence and from the lyric person point of view, applying semantic and others means. The book characteristic is a specific lyrism, that cannot to be reduced to structural minds. We here attemp, not to form, or means only, but relationshipa features beetween.

Este trabalho consiste em investigar as relações entre linguagem poética e contexto em A rosa do povo, coletânea de poemas escritos por Carlos Drummond de Andrade entre 1943 e 1945. Entre os 55 poemas da coletânea, há referências, não apenas semânticas, ao Estado Novo, à Segunda Guerra Mundial, ao Nazi-fascismo e à organização problemática do universo urbano-industrial, sempre duma perspectiva que toma partido da Resistência, segundo a ótica do indivíduo lírico. Caracterizada por uma pluralidade temático-formal irredutível a esquemas estruturais, a coletânea encontra a sua coesão na especificidade do lirismo drummondiano. Ao investigarmos aspectos textuais desse lirismo, procuramos compreender os elementos de mediação entre os planos da forma e do significado. / This text researchs relationships between poetic speech and context in A rosa do povo (1943-1945). The poems on the book refer to Estado Novo, Second World War, Nazi-fascism and the problematic urban-industrial universe, under the perspective of Resistence and from the lyric person point of view, applying semantic and others means. The book characteristic is a specific lyrism, that cannot to be reduced to structural minds. We here attemp, not to form, or means only, but relationshipa features beetween.

Made available in DSpace on 2015-03-26T13:44:28Z (GMT). No. of bitstreams: 1 texto completo.pdf: 753920 bytes, checksum: 1b41afe8fb5621030017fa1128719565 (MD5) Previous issue date: 2012-10-29 / Fundação de Amparo a Pesquisa do Estado de Minas Gerais / The present dissertation aims principally to investigate the existing relashionship between poetry, memory and History in the title O nome das coisas (1977) written by Sophia de Mello Breyner Andresen. Such book is situated among the most important writings of reflections concerning the Portuguese dictatorial period, the Revolution responsible for the ending of the totalitarian government in Portugal The Carnation Revolution and also the period posterior to these happenings. For the ccomplishment of the present work, we based our studies in an analysis of theoretical character, of which we highlight the main researches who provided critical support to the realization of the proposed investigation: A. Cândido, O. Paz, Aristóteles, L. C. Lima, T. Adorno, A. Berardinelli, H. Friedrich, M. Hamburguer, P. Valéry, A. Bosi, L. Hutcheon, P. Burke, G. Duby, P. Ricouer, L. Secco, K. Maxwell, R. Barthes, J. G. Merquior, M. Halbwachs, E. Bosi, L. R. Pereira, C. C. Rocha, C. Guirardo, H. Malheiro, among others. We delimited the corpus being investigated, as well as the theory on which we leaned to analyse it, the next phase was the analyses of the poems presented in O Nome das Coisas (1977). As we could glimpse, Sophia Andressen herself divided her book in three chapters corresponding to the years of writing of each group of poems, i.e., I 1972 73 , II 74-75 e III . In turn, each of these chapters correspond to distinct and important historical moments for Portugal, which concern the transition from the totalitarian regime, dismantled by The Carnation Revolution, to the democracy. Thus, the poems made by Andresen bring up important reflections upon the final years of the Salazarist dictatorship, of April Revolution, as well as the consequences of this insurrection had and still has in lusitanian lands. It is necessary to emphasize that the lyrical I reveals not only the desires, fears, euphoria and disappointments of a particular subject, since what is revealed through the poems analyzed also concerns an entire population who experienced an environment dominated by a totalitarian government and dreamed of the freedom that a revolution could provide them. / Este trabalho de dissertação tem como principal objetivo investigar a relação existente entre poesia, memória e História na obra O Nome das Coisas (1977) de Sophia de Mello Breyner Andresen. Tal obra figura dentre os principais escritos de reflexão concernentes ao período ditatorial português, à Revolução responsável pelo fim do Governo totalitário em Portugal - a Revolução dos Cravos bem como ao período posterior a estes acontecimentos. Para a realização deste trabalho, nos baseamos em uma análise de caráter teórico-crítico, da qual destacamos os principais estudiosos que nos forneceram apoio teórico para a realização da investigação proposta: A. Cândido, O. Paz, Aristóteles, L. C. Lima, T. Adorno, A. Berardinelli, H. Friedrich, M. Hamburguer, P. Valéry, A. Bosi, L. Hutcheon, P. Burke, G. Duby, P. Ricouer, L. Secco, K. Maxwell, R. Barthes, J. G. Merquior, M. Halbwachs, E. Bosi, L. R. Pereira, C. C. Rocha, C. Guirardo, H. Malheiro, dentre outros. Delimitados o corpus a ser investigado, bem como o material teórico em que nos apoiamos para analisá-lo, a etapa posterior constitui-se da análise dos poemas de O Nome das Coisas (1977). Como pudemos vislumbrar, a própria Sophia Andresen dividiu a obra em questão em três capítulos correspondentes aos anos de escrita dos poemas, a saber, I 1972 73 , II 74-75 e III . Por sua vez, cada um desses capítulos corresponde a momentos históricos distintos e importantes para Portugal, que dizem respeito à passagem do regime totalitário, desmantelado pela Revolução dos Cravos, para a democracia. Sendo assim, os poemas andresenianos trazem importantes reflexões acerca dos anos finais da ditadura salazarista, da Revolução de Abril, como também dos desdobramentos que essa insurreição teve e ainda possui em terras lusitanas. Faz-se necessário ressaltar que o eu lírico andreseniano revela não somente os desejos, angústias, euforias e decepções de um sujeito particular, uma vez que aquilo que é revelado através dos poemas analisados diz respeito também a toda uma população que vivenciou um ambiente dominado por um governo totalitário e sonhou com a liberdade que uma Revolução poderia proporcionar-lhes.