This thesis presents original poems by the author, as well as a comparison of the religious sonnets by John Donne and Gerard Manley Hopkins.

No description available.

No description available.

Esta tese se propõe examinar a poesia de John Donne (1572-1631) na perspectiva de um âmbito mais amplo de práticas representativas dos meios letrados das cortes do século XVII. Pressupondo a vigência de uma instituição retórica cujos preceitos condicionavam a prática poética, adota-se uma metodologia de pesquisa que flexibiliza os limites classificatórios da historiografia oitocentista posteriormente impostos aos poetas do século XVII. Assim, procede-se a uma análise retórico-poética da poesia de Donne, particularmente, mas também de seus coetâneos George Chapman, Fulke Greville, William Shakespeare e outros considerando os gêneros e estilos de suas composições, as espécies de agudeza que efetuavam, a adequação dos conceitos que formulavam como ornato dialético enigmático e a legibilidade que constituíam nas obras. Propõe-se uma investigação dos pressupostos doutrinários vigentes na época que significam as práticas representativas e as categorias que a envolvem, como a conceituação de que a poesia vernacular culta se define como prática de emulação da poesia greco-latina em seu elenco de autoridades; de que a preceituação vernacular analogamente se define como prática de emulação da preceitução antiga em seus postulados diversos; que a prática de emulação é ativa e não pressupõe cópia servil, mas variação dos argumentos de um mesmo lugar de invenção e variação do tópico elocutório, assumindo a versatilidade das operações retórico-poéticas como prova de engenho e arte. Tendo como força determinante a valoração do wit (engenho; ingenio; ingegno) nos meios letrados do século XVII, esta tese considera sempre que pode as práticas poéticas e preceptivas continentais, cruzando-as com suas contrapartes inglesas, buscando definir os critérios variados de recepção da poesia e os preceitos em uso que constituem a poética da agudeza. / This Ph.D. thesis examines the poetry of John Donne (1572-1631) in the light of the representative practices in the learned circles of 17th century courts. Presuming that there was an effective presence of a rhetorical institution at that time, which conditioned poetical production, I have adopted a critical methodology that displaces the classificatory limits of 19th century historiography later imposed on the poets of the early 17th century. I have specifically made a rhetorical-poetical analysis of the poetry of Donne, but also of George Chapman, Fulke Greville, William Shakespeare and others, considering the genres and the styles of their composition, the types of wit they used, the aptness of the conceits formulated as enigmatic dialectical ornaments, and the legibility of their works. I have also investigated the doctrinal conjectures current at the time which then signified the representative practices, such as the concept that cultivated vernacular poetry was defined as an emulation of Greek and Latin poetry; that the vernacular doctrines of rhetoric were also defined as emulation of ancient doctrines; and that the practice of emulation was an active force, and did not imply servile imitation, but rather a variation of the places of argument and the elocutory topic, taking on the diversity of rhetorical and poetical procedures as proof of wit and art. Taking as a determining force the value given to wit (engenho; ingenio; ingegno) in the learned circles of the early 17th century, this thesis also takes into consideration continental poetical and rhetorical practices, cross-examining them with English ones, in an attempt to define the diverse criteria of poetry reception and the precepts then extant which ultimately constituted the poetics of wit.

Esta tese se propõe examinar a poesia de John Donne (1572-1631) na perspectiva de um âmbito mais amplo de práticas representativas dos meios letrados das cortes do século XVII. Pressupondo a vigência de uma instituição retórica cujos preceitos condicionavam a prática poética, adota-se uma metodologia de pesquisa que flexibiliza os limites classificatórios da historiografia oitocentista posteriormente impostos aos poetas do século XVII. Assim, procede-se a uma análise retórico-poética da poesia de Donne, particularmente, mas também de seus coetâneos George Chapman, Fulke Greville, William Shakespeare e outros considerando os gêneros e estilos de suas composições, as espécies de agudeza que efetuavam, a adequação dos conceitos que formulavam como ornato dialético enigmático e a legibilidade que constituíam nas obras. Propõe-se uma investigação dos pressupostos doutrinários vigentes na época que significam as práticas representativas e as categorias que a envolvem, como a conceituação de que a poesia vernacular culta se define como prática de emulação da poesia greco-latina em seu elenco de autoridades; de que a preceituação vernacular analogamente se define como prática de emulação da preceitução antiga em seus postulados diversos; que a prática de emulação é ativa e não pressupõe cópia servil, mas variação dos argumentos de um mesmo lugar de invenção e variação do tópico elocutório, assumindo a versatilidade das operações retórico-poéticas como prova de engenho e arte. Tendo como força determinante a valoração do wit (engenho; ingenio; ingegno) nos meios letrados do século XVII, esta tese considera sempre que pode as práticas poéticas e preceptivas continentais, cruzando-as com suas contrapartes inglesas, buscando definir os critérios variados de recepção da poesia e os preceitos em uso que constituem a poética da agudeza. / This Ph.D. thesis examines the poetry of John Donne (1572-1631) in the light of the representative practices in the learned circles of 17th century courts. Presuming that there was an effective presence of a rhetorical institution at that time, which conditioned poetical production, I have adopted a critical methodology that displaces the classificatory limits of 19th century historiography later imposed on the poets of the early 17th century. I have specifically made a rhetorical-poetical analysis of the poetry of Donne, but also of George Chapman, Fulke Greville, William Shakespeare and others, considering the genres and the styles of their composition, the types of wit they used, the aptness of the conceits formulated as enigmatic dialectical ornaments, and the legibility of their works. I have also investigated the doctrinal conjectures current at the time which then signified the representative practices, such as the concept that cultivated vernacular poetry was defined as an emulation of Greek and Latin poetry; that the vernacular doctrines of rhetoric were also defined as emulation of ancient doctrines; and that the practice of emulation was an active force, and did not imply servile imitation, but rather a variation of the places of argument and the elocutory topic, taking on the diversity of rhetorical and poetical procedures as proof of wit and art. Taking as a determining force the value given to wit (engenho; ingenio; ingegno) in the learned circles of the early 17th century, this thesis also takes into consideration continental poetical and rhetorical practices, cross-examining them with English ones, in an attempt to define the diverse criteria of poetry reception and the precepts then extant which ultimately constituted the poetics of wit.

This dissertation explores the influence of Reformation representational anxiety on early seventeenth-century poetic depictions of Christ. I study the poetic shift from physical to metaphorical portrayals of Christ that occurred after the English Reformation infused religious symbols and visual images with transgressive power. Contextualizing the juncture between visual and verbal representation, I examine the poetry alongside historical artifacts including paternosters, a painted glass window, an emblem, sermons, and the account of a state trial in order to trace signs of sensory “loss” in the verse of John Donne, George Herbert, Aemilia Lanyer, and John Milton. The introduction provides a historical and poetic overview of sixteenth-century influences on religious verse. The first chapter contrasts Donne’s sermons—which vividly describe Christ—with his poems, in which Christ’s face is often obscured or avoided. In the chapter on George Herbert's The Temple, I show how Herbert’s initial, physical portraits of Christ increasingly give way to metaphorical images as the book progresses, paralleling the Reformation’s internalization of images. The third chapter shows that Aemilia Lanyer’s Salve Deus Rex Judaeorum makes use of pastoral conventions to fashion Christ as a shepherd-spouse, the divine object of desire. In the final chapter I argue that three poems from John Milton’s 1645 volume can be read as containing signs of Milton’s emerging Arianism. Depictions of Christ in the poetry of Donne, Herbert, Lanyer, and Milton reveal the period’s contestation over images; the sensory strain of these metaphorical representations results in memorable, vivid verse.

This doctoral essay examines the vocal solo and duet repertoire of Kenneth Mahy, an American composer of art song and choral music in the late twentieth and early twenty-first centuries. By examining his songs, assessing their difficulty, and analyzing their texts, this essay establishes that Kenneth Mahy is a composer worthy of note. In addition, this study provides pedagogical observations and performance notes of his songs. Furthermore, this essay provides biographical information about Mahy, and examines how his training, education, military experience, and unique experiences as the son of missionaries in China and the Philippines, among other influences, have affected and shaped his compositions. Resources include source material gathered from Mahy's personal archives, manuscripts and scores, and personal interviews with Mahy. This information provides comprehensive insight into a unique and deserving composer of modern American art song.

No description available.

This dissertation explores the influence of Reformation representational anxiety on early seventeenth-century poetic depictions of Christ. I study the poetic shift from physical to metaphorical portrayals of Christ that occurred after the English Reformation infused religious symbols and visual images with transgressive power. Contextualizing the juncture between visual and verbal representation, I examine the poetry alongside historical artifacts including paternosters, a painted glass window, an emblem, sermons, and the account of a state trial in order to trace signs of sensory “loss” in the verse of John Donne, George Herbert, Aemilia Lanyer, and John Milton. The introduction provides a historical and poetic overview of sixteenth-century influences on religious verse. The first chapter contrasts Donne’s sermons—which vividly describe Christ—with his poems, in which Christ’s face is often obscured or avoided. In the chapter on George Herbert’s The Temple, I show how Herbert’s initial, physical portraits of Christ increasingly give way to metaphorical images as the book progresses, paralleling the Reformation’s internalization of images. The third chapter shows that Aemilia Lanyer’s Salve Deus Rex Judaeorum makes use of pastoral conventions to fashion Christ as a shepherd-spouse, the divine object of desire. In the final chapter I argue that three poems from John Milton’s 1645 volume can be read as containing signs of Milton’s emerging Arianism. Depictions of Christ in the poetry of Donne, Herbert, Lanyer, and Milton reveal the period’s contestation over images; the sensory strain of these metaphorical representations results in memorable, vivid verse.

Thesis (Ph.D) - University of Queensland, 2006. / Includes bibliography.