Partindo da Teogonia e dos Trabalhos e dias de Hesíodo, modelos de poética fundada na verdade, e do conceito de sabedoria humana, como aparece na Apologia de Sócrates de Platão, o presente trabalho estuda a relação entre verdade e poesia nos Idílios de Teócrito fundamento de seu programa poético , e a elocução contenciosa ou competitiva que a veicula. Ao que se segue tradução em verso de todos os idílios hexamétricos autênticos do autor. / Starting from Hesiods Theogony and Works and days, models of a truth-based poetics, and from the concept of human wisdom as it stands in Platos Apology of Socrates, this work focuses on the so-called reciprocal conditioning of truth and poetry in Theocritus Idylls the very basis of his poetic program as well on the quarrelsome or competitive diction which conveys it. There follows a versetranslation of all the true Theocritean Idylls written in hexameters.

ABSTRACT For more than fifty years, Philip Levine has successfully written verse and prose on a number of subjects and themes including the complexities of familial relationships, the anarchists of the Spanish Civil War, the importance and effects of memory in life, race relations in the United States, the poet’s Jewish identity, and the very struggles that writing meaningful poetry involves. A cursory look at the scholarship on Levine’s poetry reveals that these are the topics frequently discussed and analyzed. However, as anyone can recognize in the criticism on Levine’s verse, Levine’s reputation does not rest so much on his attention to these themes and topics as it does on his presentation of and sympathies with individuals working in the context of modern industrial society. This dissertation identifies and analyzes Levine’s presentations of work and working-class individuals. Starting with the argument that more scholarship needs to be performed on Levine’s poetry than what currently exists, the dissertation’s first part points to Levine’s reputation in and contributions to American poetry. Proceeding to undertake the further study called for in part one, the second part of the dissertation identifies representative examples of working-class elements within Levine’s poetry and places them within historical context as far as poetry is concerned in general. Part three specifically looks at the ways in which Levine’s poetry expresses and relates to Marx’s idea that all of history revolves around the concept of class struggle. The final section of the dissertation explores how Levine’s poetry represents Marx’s theory of alienation among the working-class, identifying and analyzing key examples from throughout the poet’s oeuvre.

Thesis (Ph. D.)--John Hopkins University, 1897. / Preface dated May, 1897. Biography. Bibliography: p. 67-70.

This diploma work is mainly a monography of a Czech author Pavel Zajicek. The base of this study is the analysis and the interpretation of his lifelong official and samizdat literary work. In the analysis of some of his prerevolutionary books as the main source I used mainly the critiques of the contemporary literary magazines. I also present the life of the author itself, especially in the context of the period he lived in. I will briefly mention two musical bands that are closely related to this personality {--} DG 307 and PPU. In my studies I use my personal e-mail with Pavel Z. and I do not forget to observe all accesible dialogues with this poet. This diploma work is mainly a monography of a Czech author Pavel Zajicek. The base of this study is the analysis and the interpretation of his lifelong official and samizdat literary work. In the analysis of some of his prerevolutionary books as the main source I used mainly the critiques of the contemporary literary magazines. I also present the life of the author itself, especially in the context of the period he lived in. I will briefly mention two musical bands that are closely related to this personality {--} DG 307 and PPU. In my studies I use my personal e-mail with Pavel Z. and I do not forget to observe all accesible dialogues with this poet. This diploma work is mainly a monography of a Czech author Pavel Zajicek. The base of this study is the analysis and the interpretation of his lifelong official and samizdat literary work. In the analysis of some of his prerevolutionary books as the main source I used mainly the critiques of the contemporary literary magazines. I also present the life of the author itself, especially in the context of the period he lived in. I will briefly mention two musical bands that are closely related to this personality {--} DG 307 and PPU. In my studies I use my personal e-mail with Pavel Z. and I do not forget to observe all accesible dialogues with this poet.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-21T16:37:06Z No. of bitstreams: 1 Dissertação de Mestrado.pdf: 11778151 bytes, checksum: 799d222c47d62ef812293467bdf845a7 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-08-23T11:57:59Z (GMT) No. of bitstreams: 1 Dissertação de Mestrado.pdf: 11778151 bytes, checksum: 799d222c47d62ef812293467bdf845a7 (MD5) / Made available in DSpace on 2018-08-23T11:57:59Z (GMT). No. of bitstreams: 1 Dissertação de Mestrado.pdf: 11778151 bytes, checksum: 799d222c47d62ef812293467bdf845a7 (MD5) / RESUMO Nesta dissertação, são desenvolvidas considerações acerca da tríade – imagem, tema e verso, para explorar os conceitos geradores da teoria sobre as representações das matrizes estéticas encontradas no folheto da literatura popular em versos – denominada como Universo-Cordel. Uma encenação do grupo teatral rebanho de atores, no caso Os Ovos de Militão, é analisada, em seus aspectos artísticos, cênicos e dramatúrgicos, tendo como ponto de partida os elementos estéticos do universo-cordel. Aspectos históricos da literatura popular são abordados, bem como conceitos e classificações. Alguns autores são utilizados como fundamentação teórica, a exemplo de Néstor García Canclini (2011), Joseph Maria Luyten (2005), Idelette Muzart-Fonseca dos Santos (2006; 1999), Franklin Maxado (1982), Ivan Cavalcante Proença (1982), Sebastião Nunes Batista (1977), Manoel Cavalcanti Proença (1964), Luiz da Câmara Cascudo (2001; 1953; 2005; 1982; 2000) e Anatol Rosenfeld (2002). Uma trajetória histórica e o perfil artístico do grupo rebanho de atores também são traçados no decorrer desta dissertação. / ABSTRACT In this dissertation, considerations are developed on the triad: image, theme and verse, to explore the operative concepts of the theory of representations of aesthetic matrices found in the booklet of popular literature in verse, called as Universe-Cordel. A staging of the herd theater group of rebanho de atores, in case Os Ovos de Militão, in its artistic aspects, scenic and dramaturgical taking as its starting point the aesthetic elements of the universe-cordel. Historical aspects of popular literature are discussed, as well as concepts and classification. Some authors are used as theoretical basis, like Néstor García Canclini (2011), Joseph Maria Luyten (2005), Idelette Muzart-Fonseca dos Santos (2006 and 1999), Franklin Maxado (1982), Ivan Cavalcante Proenca (1982) Sebastião Nunes Batista (1977), Manoel Cavalcanti Proenca (1964), Luiz da Câmara Cascudo (2001; 1953; 2005; 1982; 2000) and Anatol Rosenfeld (2002). Also, a historical trajectory and the artistic profile of the herd group rebanho de atores are traced in the discourse of the dissertation.

Édouard Dujardin (1861-1949), fondateur de la Revue wagnérienne et de la Revue Indépendante de littérature et d’art, n’a pas été seulement un théoricien du symbolisme, il en a été le praticien. Son œuvre littéraire entre 1885 et 1893 explore aussi bien le vers que la prose, en retrace les questionnements. Résolument engagée dans l’avant-Garde, elle ne s’attaque pas seulement à l’édifice du réalisme, elle remet en cause le modèle de la mimèsis dans une recherche formelle intense. Ainsi l’œuvre de Dujardin se fait-Elle, de manière exemplaire, témoin de cette crise du vers que traversait l’univers des lettres. Genres, formes et confrontation entre les arts délimitent ce parcours en trois parties, qui ne suit pas un plan linéaire ou chronologique, mais un questionnement spécifique déterminé par chaque ouvrage. Pour cette raison, nous avons commencé par son théâtre, qui soulevait la question de l’identité du personnage. Le prénom Antonia nous a ainsi servi de fil conducteur pour aborder la relation vers et prose, telle qu’elle se manifeste soit dans le poème en prose soit dans le vers libre. Dans une seconde partie, nous avons interrogé les formes, la prose poétique de ses nouvelles et de son roman, qui répondent partiellement aux critères définissant le poème en prose. Enfin, dans le cadre de la confrontation entre les arts, nous nous sommes intéressés au phénomène textuel Les Lauriers sont coupés, considéré par la critique comme un procédé de « monologue intérieur », puis au rapport entre poésie et musique par l’étude de l’ouvrage Litanies mélopées pour chant et piano, qui met en vis-À-Vis poème et musique. / Edouard Dujardin (1861-1949), the founder of Revue wagnérienne (the Wagnerian Journal) and Revue Indépendante de littérature et d’art (the independent journal of literature and art) has not only been a theoretician on symbolism but also a practitioner. His literary work between 1885 and 1893 explores verse as well as prose and traces back its questionings. Being resolutely engaged in the avant-Garde, it does not only tackle the structure of realism but also questions the model of mimesis in a sort of formal and intense research. It thus happens that Dujardin’s literary work testifies, in an exemplary way for that matter, to the crisis in verse that the literary universe was undergoing. Genres, forms and confrontations of different forms of arts define this course in three parts which does not follow a linear plan nor a chronological one but rather a specific questioning determined by each literary work. This is the reason why we started by studying his drama which raised the question of the character’s identity. The name of Antonia was thus used as a thread to tackle the relationship between prose and verse, as shown in the poem in prose or in free verse.In a second part, we questioned the forms-The poetic prose of his short stories and of his novel- which partly fulfil the criteria of the poem in verse. Lastly, in the context of the confrontation between the different types of arts, we focused on the text viewed as a phenomenon- Les Lauriers sont coupes- considered by critics as a form of “stream of consciousness” then on the connection between poetry and music through the study of the work Litanies, “mélopées” for piano and song, which confronts poem and music.

Poems to the Sea: Rather than narrating or describing a work of visual art, the poems that form this collection show an accumulation, juxtaposition and realignment of material ranging from art historical detail and critique to a more personal, location specific response to works viewed in galleries and museums. Many of the poems engage with non-representational artworks and question how best to reflect, translate or expand upon their transformative effects. The first section, ‘Museum Notes’, explores Charles Olson’s open field poetics by giving artists and writers a conversational voice. ‘Sound Fields’, the second section, responds to individual works of art and reflects a systems-based approach. The authorial voice within ‘Poems to the Sea’, the third section, is that of an artist involved in making a series of palimpsest drawings to capture a sense of place as drawing and writing overlaps and intertwines. Painterly Poetics: Charles Olson, Robert Creeley, Cole Swensen: This thesis explores three American poets from successive generations to examine three related types of engagement with visual art. As literary models that have informed my own poetic practice, Charles Olson, Robert Creeley and Cole Swensen have theorized their own writing process to consider ways of using language to enhance the transmission and transcription of their visual stimuli and ideas. All three are interested in visual art as a model for the writing process: as a means of seeing, thinking and perceiving. After an introduction that surveys relations between verbal and visual art, a chapter is devoted to each of the three poets. In the opening and longest chapter, examples of Olson’s writing are compared to the approach of several Abstract Expressionist painters who contributed to the culture of experimentation and spontaneity that emerged under Olson’s leadership at Black Mountain College in the early 1950s. Following a discussion of Olson as a uniquely influential figure, the chapter on Creeley considers the role of visual art in his poetics. Swensen’s writing is subsequently explored for its extension of the Black Mountain legacy: how she builds upon established critical methods to achieve what she calls ‘a side-by-side, walking-along-with’ relationship between the poem and the artwork.

Les romans de Chrétien de Troyes ont suscité beaucoup de réécritures. A partir du XIIIè et jusqu’au XVè siècle, plusieurs romanciers ont repris la trame du Champenois en dépassant l’écriture en vers et en adoptant une écriture en prose jugée mieux garante de la véridicité et de la vraisemblance de l’histoire. Les versions se font concurrence, mêlant différents styles et différentes stratégies et célébrant un phénomène qui s’épanouit surtout dans la prose du Lancelot, l’entrelacement. La langue évolue aussi au fil des siècles. Cette évolution se fait remarquer dans des mises en prose qui sont mieux structurées que d’autres, et ce tant sur le plan narratologique que syntaxique. Cependant, ce souci d’organisation va jusqu’à créer parfois des amalgames sémantiques. Mais dans tous les cas, il révèle la spécificité de chacun des auteurs et leurs choix d’écriture respectifs dans les différentes réécritures des romans de Chrétien de Troyes. / Chrétien de Troyes’ novels aroused many rewritings. From the XIIIth until the XVth century,several novelists resumed the framework of Chrétien’s language by overtaking the writing inverse. They adopted writing in prose considered best granter of truth, similitude andcredibility for the story. The versions would compete through mixing various styles andstrategies and mainly by celebrating a phenomenon which blooms particularly in the prose ofthe Lancelot, the interlacing. The language also evolved in the course of the centuries. Thisevolution is getting noteworthy when used in prose style as such it looks much betterstructured than the other styles in both narration and syntax. Nevertheless, this care fororganization goes as far as creating sometimes some semantic confusion. And yet in mostcases, it reveals the specificity of each author and his own preferences in terms of writingwhen rewriting Chrétien de Troyes’ novels.

The purpose of this study is to trace and describe the form, origin and history of the praise poem ‘Ba Masemola’. This praise poem was included in the volume Seriti sa Thabantsho (1956). In that period, E. M. Ramaila collected and transcribed traditional praise poems of different groups, such as the Bapedi, the Batau, the Mapulana, and others. During his collection, Ramaila urged these groups not to forget their descent and history, and pointed out that these particulars were all brought together in their praise poems. Of the clans that are represented by their praise poems in this volume, only the Batau are discussed in this study. The Batau is a large group that is in its turn divided into five smaller groups, namely the Mphanama, Masemola, Nchabeleng, Makobe and Bakgaditsi groups. From among these smaller units the ‘Ba Masemola’ are selected for closer examination. Among the praise poems about the ‘Ba Masemola’ different kings are praised, for instance Mokwene, Tseke, Mabowe, and others. Not all these poems will be scrutinised, though occasional reference will be made to them. The most important concepts that are discussed in this study are the following: the praise poem, the narrative poem (poem with epic characteristics) and the epic. These genres share certain characteristics, yet also differ from each other. With regards to the content of the poem, several important characters are praised. The foremost figures that are mentioned here are the praise poet, the praised one and the ‘audience’. Their conduct differentiate them from characters found in (other) narratives works. The actions that are described can be divided into two groups, namely those that operate autonomously from other actions, and those that link with other actions. Nevertheless, all these happenings belong to the past. The milieu in this praise poem largely corresponds to that found in the narrative works, mainly because in the traditional settings, the praise poem is a declamatory piece that has several characteristics in common with the stage performance. In the description of the structural composition of this praise poem, a distinction will be made between the poem as literary work and the poem as verse. In the first case the theme, title and structure of the poem will be examined. The description of the structure of ‘Ba Masemola’ entails the different techniques Ramaila employs to carry across his ‘message’ and elucidates his point of view. In the examination of the verse composition, the first emphasis is on metrical principles that govern form, i.e correspondence and co-ordination, and the way in which Ramaila used them is then illuminated. In the stylistic finish of the poem there is a noticeable emotional charge. This can be mentioned as an important quality of the poem, and brings to the fore the bravery and fearlessness of the clan of GaMasemola. / Dissertation (MA)--University of Pretoria, 2008. / African Languages / unrestricted

Cette étude explore les phénomènes de diffraction qui se produisent dans le discours des romans arthuriens en vers du XIIIe siècle. Le discours, selon Genette, correspond à la manifestation de la subjectivité dans un texte. Nous avons sélectionné comme corpus primaire un échantillon de huit œuvres arthuriennes dites « parodiques » de l’époque : Le Bel Inconnu, de Renaut de Beaujeu, Gliglois, Hunbaut, Fergus, de Guillaume le Clerc, Méraugis de Portlesguez, de Raoul de Houdenc, Les Merveilles de Rigomer, de Jehan, Claris et Laris et Floriant et Florete. À travers ces œuvres, nous observons les manifestations, les mécanismes et les tendances évolutives de divers procédés liés à la diffraction discursive. Dans le premier chapitre, nous traitons de l’enargeia intradiégétique, qui survient donc lorsqu’un personnage raconte une scène au discours direct dans le texte, et qui représente une diffraction de la parole narrative. Dans le deuxième, nous étudions l’entrelacement, qui correspond à une diffraction de la diégèse qui est marquée par des commentaires du narrateur. Les marques de conscience générique, qui se manifestent lorsqu’un personnage rend explicite sa conscience et connaissance des rouages de la tradition littéraire dans laquelle il s’inscrit, font l’objet du troisième chapitre : elles constituent une diffraction du savoir narratif. Au bout de nos observations, nous sommes en mesure de constater que tous ces procédés, ainsi que la diffraction qu’ils représentent, se complexifient, se régularisent et sont davantage soulignés dans les œuvres plus tardives du XIIIe siècle. / This study explores the diffraction that occurs in thirteenth-century Arthurian romance discourse. Genette defines discourse as the manifestation of subjectivity in text. We have selected eight “parodic” Arthurian romances as our main corpus: Renaut de Beaujeu’s Le Bel Inconnu, Gliglois, Hunbaut, Guillaume le Clerc’s Fergus, Raoul de Houdenc’s Méraugis de Portlesguez, Jehan’s Les Merveilles de Rigomer, Claris et Laris and Floriant et Florete. With these works, we observe the manifestations, mechanisms and evolutions of different stylistic features that are related to discursive diffraction. In the first chapter, we study intradiegetic enargeia, which occurs when a character describes a scene in direct discourse; it represents a diffraction of narrative speech. In the second chapter, we discuss interlace, considered to be a diffraction of diegesis that is punctuated with narrative comments. Marks of generic awareness occupy our third chapter: they occur when a character signals their awareness or knowledge of the literary tradition in which they participate. They constitute a diffraction of narrative knowledge. At the end of our observations, we find that all these stylistic features, as well as the diffraction they represent, are used more regularly, complexly and emphatically in the later thirteenth-century romances.