Chief subject of this work is a detailed description of the metrical structure of accentual verse and its place in the system of versifications. Definitions of this metrical system in the Czech theory of verse are compared to the international concepts of accentual verse. Then the category of isochrony is described. Isochrony is a property of language, on which the priciple of accentual verse is based on. In the next part of the work I present an overview of the types of accentual verse in Polish, English, Russian and German. Special attention is paid to the category of strict stress-verse, its relation to the accentual verse and also to some of Czech literary works. Further in the work I focus on metrical analysis of the texts written by five czech poets, which are more or less based on the accentual principle. The most attention is paid to the drama Faëthon by O. Theer. I elaborate on author's comments and critical reviews of his contemporaries, comparing them with the modern metrical descriptions. The last part is devoted to the problem of translating accentual verses into Czech, connecting this versification with "sylabotonic" translations of quantitative verse and also oral character of accentual versification in general.

Le théâtre des symbolistes est souvent considéré comme une tentative dramatique ayant échoué dans la vocation première du genre : la rencontre d’un texte et de la scène. Pourtant, les symbolistes ont mené une importante réflexion sur l’art de la scène, dans laquelle la poésie occupe une place centrale. La poésie doit permettre de refonder un art qui apparaît en crise. Ce parti-pris est perçu comme le socle théorique d’un théâtre à lire, entraînant le renoncement à la scène. C’est dans cette articulation que se loge notre démonstration : nous montrons que cette poésie au théâtre n’est pas incompatible avec les exigences de la scène. Les auteurs étudiés développent en effet une réflexion sur la possibilité d’un théâtre à lire. Mais cette théorie n’est pas une façon de renier la scène : le livre et la scène sont des objectifs poursuivis parallèlement dans leur dramaturgie. Dans cette nouvelle optique, il existe deux types de représentations du texte théâtral : celle de la scène, qui se réalise sur les planches, et celle de la lecture, parce que le lecteur se représente le texte qu’il lit. Apparaît alors une « scène intérieure », tout aussi valable, tout aussi théâtrale que le plateau. Cette thèse prend comme point d’appui des critères stylistiques, dramaturgiques et scéniques pour fonder le rapprochement entre poésie et théâtre. Il s’agit de mettre en perspective ces catégories en fonction de l’esthétique symboliste. En effet, cette dynamique prend naissance en réponse à une crise dramatique propre au dix-neuvième siècle, qui s’interroge sur les rapports entre scène et texte. / Symbolist theatre is often considered as an unsuccessful attempt to drama that failed in the main purpose of the genre: the encounter of text and stage. The symbolists, though, carried an important reflexion on the art of stage, in which poetry is playing a central role. Poetry is thought to allow a new foundation of an art in crisis. This postulation was considered as the theoretical ground of an “armchair theatre”, resulting in a renunciation of stage. Our reflexion discusses this assumption: we demonstrate that poetry in drama is not incompatible with the stage’s obligations. The dramatists studied in this work develop indeed a reflexion on the possibility of an “armchair theatre”. But this theory is no denial of the stage: the reading and the staging are equally pursued by their dramaturgy. In this new conception of theatre, drama can be represented in two different ways: on the stage or in the reader’s mind, because the reader’s represents himself the text he reads. An “inner stage” emerges then, that the symbolists considered of equal dramatic worth as the boards. Our study leans on stylistic, dramaturgic and scenic criterions in order to establish the connection between poetry and theatre. Those categories shall be understood according to the symbolist aesthetics. This new dramaturgy arises as a response to a dramatic crisis characterising the XIX century: dramatists through out the century question the relation between stage and text.

O objetivo deste estudo é apresentar uma proposta de tradução, do francês para o português, de partes selecionadas da obra Festin Joyeux, ou, la Cuisine en Musique, de autoria do officier de bouche do rei Luís XV, J. Lebas (1738). Essa obra constitui objeto inusitado de tradução e se distingue de outros livros de cozinha por envolver uma singular justaposição de gêneros, uma vez que se trata de receitas culinárias versificadas que podem ser entoadas segundo melodias populares da época, os airs de cour e os vaudevilles. No primeiro capítulo, é feita uma breve contextualização sócio-histórica e apresentação da obra original. O segundo capítulo consiste em discussão da natureza da obra e levantamento de possíveis dificuldades decorrentes do hibridismo de gêneros, acompanhado de uma delimitação de estratégia para a tradução pretendida. Por fim, o terceiro capítulo contém a tradução em si de composições de Festin Joyeux, acompanhadas de comentários que justificam as decisões pessoais tomadas na empreitada. Como apoio teórico, recorreu-se às abordagens funcionalistas da tradução, que enfatizam a questão da função como guia no processo de transposição de conteúdo e de forma da língua-fonte para a língua-meta. À luz de conceitos elaborados por teóricos funcionalistas como Katharina Reiss e Hans Vermeer, e em especial do modelo proposto por Christiane Nord, procurou-se traçar um plano de ação voltado para uma função pré-estabelecida para o textometa, tendo por base a análise textual e o receptor final da tradução. Em razão da perspectiva adotada, o corpus se compõe exclusivamente de composições que recebem a indicação de melodias cujas partituras estão incluídas na obra, de maneira que a função estabelecida possa ser cumprida integralmente. Todos os termos específicos ao campo semântico da gastronomia foram pesquisados em livros de cozinha contemporâneos a Festin Joyeux e em dicionários históricos, com o intuito de minimizar as possíveis distorções sofridas nesse espaço de quase três séculos entre a publicação de Festin Joyeux, no século XVIII, e sua tradução, no século XXI. / The aim of this study is to present a translation proposal, from French to Portuguese, of selected parts from the book Festin Joyeux, ou, la Cuisine en Musique, written by Louis XVs officier de bouche, J. Lebas (1738). This book appears as an unusual subject for a translation and distinguishes itself from other culinary books due to its text type juxtaposition, in as much as its a compilation of recipes in verse, intended for singing according to popular tunes at the time, the airs de cours and vaudevilles. In the first chapter, we make a brief social-historical contextualisation and an introduction of the original book. In the second chapter we discuss the nature of the text and survey the possible difficulties derived from the text type juxtaposition, determining a strategy for the intended translation. Finally, the third chapter includes the translation itself of Festin Joyeuxs compositions, accompanied by commentaries that justify the personal decisions made in the task. As a theoretical support, we have drawn from the functional approaches of translation which emphasize the question of the function as a guide in the process of transposing the content and form from the source-text to the target-text. In the light of concepts elaborated by funcionalist theorists like Katharina Reiss and Hans Vermeer, and in particular of the model proposed by Christiane Nord, we have strived to set an action plan towards a pre-established function for the target-text, based on text analysis and the final receiver of the translation. Due to the adopted perspective, the corpus is constituted exclusively by compositions that receive the indication of tunes for which there are music scores included in the book, in such a way that the established function can be thoroughly fulfilled. All the words which are specific to the semantic field of gastronomy have been researched in cookbooks contemporary to Festin Joyeux and in historical dictionaries, aiming at minimizing possible distortions caused by the gap of nearly three centuries between the publication of Festin Joyeux, in the 18th century, and its translation, in the 21st century.

Esta tese oferece um panorama de ideias sobre a tradução do verso livre em inglês para o português com base em uma pesquisa feita com dez tradutores brasileiros, por meio de um questionário com 13 perguntas abordando diferentes aspectos do tema. A pesquisa contextualiza as respostas com um perfil detalhado de cada um dos tradutores que participaram dela e uma análise contrastiva do grupo em conjunto, com base nos conceitos de habitus e campo, desenvolvidos pelo sociólogo Pierre Bourdieu, aplicados à area da tradução. A tese conclui que a visão dos entrevistados reflete aspectos do conceito de verso livre, que engloba uma série de estilos poéticos, e enumera os pontos mais relevantes no conjunto das respostas, como a divisão dos poemas em versos livres em categorias, a necessidade de identificar o princípio de organização do poema e considerações a respeito da tradução do ritmo. / This thesis makes an overview of ideas on the translation of free verse from English into Portuguese based on a survey with ten Brazilian translators, who answered a questionnaire with 13 questions about different aspects of the subject. The study contextualizes the answers with a detailed profile of each participant, based on the concepts of field and habitus, developed by sociologist Pierre Bourdieu, applied to translation. It concludes that the answers reflect aspects of the concept of free verse and identifies the most important points, like the division of free verse poems into categories, the need to identify the organization principle of the poem, and considerations on translation of rhythm.

The diploma thesis focuses on work with poem mostly in lessons concerning reading and literary education and also cross-curricular usage of it in elementary school. The theoretical part is dealing with findings from the field of literary theory and didactics focusing on work with poetic text, its basic terms and poetic tools. There is also a brief development of Czech authorial poetry and reference to folk´s literature. The questionnaires of the research part are focused on usage of poetic texts in teaching in elementary school, the attention is especially put on the way how it can be applied and the degree of its application. The practical part offers a database of activities for work with poem and samples of handouts which were verified by pupils of elementary school. Methodical double-sheet for teachers is attached to the handouts for pupils.

This study examines two translation approaches prominent among English translations of modern Japanese free verse poetry. The purpose is twofold: to provide a critical history of the first book-length English translations of individual poets, published over roughly a ten-year period; and to identify and examine, among those publications, works that took a distinctive and challenging translation approach. The main argument is that the chief works examined in this study each present a differing approach that challenges the dominant postwar discourse on translation in the Japanese literary studies community. The study fills a conspicuous gap in translation studies, since it is the first in-depth examination of modern Japanese poetry in translation. It focuses on two translation approaches, specifically “interpretive” and “source-oriented” translation, which have tended to be loosely associated with the vague notions of “free” translation and “literal” translation respectively. The importance of the study stems from its clarified definitions of these approaches through analyses of published translations featuring their rigorous use. It also suggests arguments for and implications of using and identifying these approaches, both for the translator and for translation scholars. Modern poetry was chosen as a genre because it features the two approaches prominently and because it was felt important to focus on a genre somewhat marginalised among publications of Japanese literature in translation. The study focuses in particular on translations published in the period 1968-1978, because this represented a flowering period of publications of modern Japanese poetry, including the first book-length publications of individual poets. Chapter One has two parts: definitions and contexts. The definitions section is a brief discussion of translation theory focusing on views that have gone beyond the “literal” versus “free” argument, and it examines a number of significant statements in the field of translations studies in order to develop useful definitions of key terms used throughout the study. The second half contextualises the significance of the chosen publications in the Japanese literary studies community. This includes a brief history of translation and translation theory focusing on the views of the dominant translators in the early postwar years, including discussions, disagreements or criticisms concerning the “right” way to translate. It also includes an analysis of attitudes towards modern poetry among scholars and translators of Japanese literature and a brief discussion of translations of modern Japanese poetry. Chapter Two examines poet Gary Snyder’s interpretive and transformative translations of Miyazawa Kenji’s (1896-1933) poems “Haru to shura” (Spring and Asura) and “Nusubito” (The Thief). The chapter shows how Snyder’s renditions of these poems can be related to the structure and themes of his own poetry collection The Back Country (1968) in which the translations appeared. By throwing his interpretive reading of these poems into the translations, as well as making some creative adjustments, Snyder allows the translations to fit within the thematic movement of his own collection. This chapter also argues that the act of identifying interpretive approaches in the case of poet-translators can be an an important tool in establishing links between the translations and the poet’s original literary works, and even further links with the poet’s life and philosophy. Chapter Three examines Hiroaki Sato’s translations of Hagiwara Sakutarō (1886-1942) in Howling at the Moon (1978). Sato takes an estranging, source-oriented approach similar to Lawrence Venuti’s concept of “foreignisation”, an approach that signals the difference of the source text and culture by departing from accepted language usage. With Sato’s translations we can observe the estranging effect of the source-oriented approach working in two directions: suggesting the difference of source text syntax from the target language perspective; and giving an equivalent effect of some unusual language use that was already estranging for source language readers. Sato sees the estranging function of Sakutarō’s syntax as an essential element of his poetry, and has developed his whole translation strategy around this view. Chapter Four discusses Cid Corman and Kamaike Susumu’s translations of Kusano Shinpei’s frog poems in frogs &. others. (1969). As with Sato’s versions of Sakutarō, Corman and Kamaike take a source-oriented approach, and their clever use of text selection and ordering as translation strategies has enabled them to convey their interpretation of Kusano Shinpei’s frog poems as directing a defamiliarising gaze back at humans and human society. Rather than aiming for complete linguistic accuracy as Sato does, they focus on a mirror-image source-oriented approach—often reproducing the source text’s word order and line order—not only as a means to suggest Kusano’s syntax, but also as a form of language experimentation and wordplay that enables their translations to stand out as autonomous poetic texts.

This master's theses was carried out on assignment from Stockholm Vatten AB as a part of a project developing new waste water treatment techniques. The goal of the theisis has been to evaluate an anaerobic membrane bioreactor for treatment of waste water from Hammarby Sjöstad. The bioreactor has not been heated and the main interest has been to study the gas production, power consumption and the reduction of organic matter and nutrients. The system has been completed with a reverse osmosis unit and a total of four batch runs have been made with good results. The use of reverse osmosis allows nutrient in the waste water to be reintroduced into circulation as the reverse osmosis concentrate can be used as crop nutrient. The membrane unit is of VSEP ("Vibratory Shear Enhanced Processing") type and an extensive membrane test has been conducted. This so called L-test helped determine the most suitable type of membrane for the system to allow a higher ±ux and thus lower power consumption. The L-test gave good results and a new membrane with a poresize diameter of 0,45 μm was used. The organic load on the bioreactor has been more or less constant, around 0,7 kg COD/day, during the seven weeks of testing. The reduction over the entire system including reverse osmosis has been large, around 99 % regarding organic matter and phosporus and 93 % for nitrogen, making the system suitable for waste water treatment except for high power consumption, around 2 kWh/m3. The production of methanegas has worked although it has been quite low, with average values of 0,13 m3 CH4/kg reduced COD. / Examensarbetet är utfört på uppdrag av Stockholm Vatten AB som en del av det pilotprojekt som utvärderar nya tekniker för avloppsvattenrening för Hammarby Sjöstad. Målsättningen med studien har varit att utvärdera ett system bestående av en anaerob membranbioreaktor för behandling av avloppsvatten från Hammarby Sjöstad. Bioreaktorn har inte varit uppvärmd och det som har studerats är reningseffekten, biogasproduktionen samt energiåtgången. Systemet har även innefattat en omvänd osmosanläggning och totalt har fyra försök med denna gjorts med goda resultat. Analyser har koncentrerats till att utvärdera reduktion av organiskt material över membranbioreaktorn och av närsalter och metaller över omvänd osmos anläggningen. Bakgrunden till att använda omvänd osmos är att öka återföringen av näringsämnen från avloppsvatten. Resultatet av försöken med omvänd osmos gav ett koncentrat med högt näringsinnehåll och låg halt av tungmetaller vilket ger möjligheten att sprida det på åkermark. Membranenheten är av typen VSEP ("Vibratory Shear Enhanced Processing") och ett membrantest har även utfötts för att finna det membran som passar systemet bäst med avseende på flöde och energiförbrukning. Det så kallade L-testet var omfattande och gav en klar bild över vad som skulle vara det bästa membranet. Det membran som visade sig passa systemet bäst var ett membran med en porstorlek på 0,45 μm. Belastningen av organiskt material på reaktorn under försöksperiodens sju veckor har varit mer eller mindre konstant och låg, cirka 0,7 kg COD/dygn. Reduktionen över hela systemet inklusive omvänd osmosanläggningen med avseende på organiskt material och fosfor har varit mycket hög, omkring 99 %. Reduktionen av kväve var som högst 93 %. Gasproduktionen har fungerat och har i genomsnitt varit omkring 0,13 m3 CH4/kg reducerad COD. Energiförbrukningen för systemet i motsvarande fullskala blev omkring 2 kwh/m3.

Mwanadamu amejaribu kwa vyovyote vile kuvumbua na kunyumbua mambo mapya ambayo yataleta mvuto na kupimia akili yake kiubunifu katika hali ya kutaka kutangamana zaidi na binadamu mwenzake au kutaka kuelewa zaidi ulimwengu wake. Ndiposa washairi wengi wa kisasa wanashikilia kwamba ulimwengu unabadilika na hivyo utamaduni wa ushairi lazima ubadilike. Katika wasilisho hili tunajadili mabadiliko haya ya kimaumbo na athari zake katika ushairi wa Kiswahili. Si lengo letu kushawishi msomaji kujiunga na kikundi fulani cha ushairi bali kuangazia hoja mwafaka zinazotokana na mivutano na mikinzano katika mabadiliko haya, na namna mitazamo hii inavyofanikisha maendeleo ya ushairi.

Five-character poetry is an important poems form in Chinese Literature, which have five-character-four-sentences, six-sentences, eight-sentences, ten-sentences,twelve-sentences or even longer. Although the regulated verse form got into matured in Tang Dynasty,but it was brewing in the Southern Qi Liang.Start from Southern Song Dynasty,five-character poetry was gradually appeared into a large number,especially of the five-character-eight-sentences poetry.However, among the academia only focus on researching poetry rhythm and the antithesis,did not put efford into research the structure of five-character poem.This thesis focuses on this phenomenon,based on the number of five-character poems and the poems structure,try to research the process of five-character poems evolve into regulated verse.

Thesis (Ph. D.)--University of Oregon, 2002. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 292-309).