My dissertation revises our assumptions about the Renaissance commonplace that poetic monuments last longer than marble ones. We tend to understand the commonplace as being about the materiality of artistic media and thus the comparative durability of text and stone. In contrast, I argue that English Renaissance poets and theorists treat the monument of verse as a space where their hopes for the poem’s future converge with broader cultural concerns about the reception of the ancient past and the place of English vernacular poetry within the hierarchy of classical and contemporary European letters. In Renaissance poetics manuals, authors appropriate a newly classicizing architectural vocabulary to communicate confidence in the lasting power of English poetic structures. Through their use of architectural metaphors, they defend their vernacular against charges of vulgar barbarism and promote the civilizing potential of English verse. Yet if lyric poets also turn to architectural metaphors to make claims about poetry’s enduring quality, they simultaneously disclose a deep unease about the perils of textual transmission. Indeed, monumentalizing conceits often appear most powerfully in poetic genres predicated on failed hopes and frustrated desires, that is, in the sonnet sequences and complaints of Edmund Spenser, Samuel Daniel, and William Shakespeare. In acknowledging the fragility of the textual and architectural remains of antiquity, lyric poets from Spenser forward consider their own textual futures with an entirely new sense of urgency. I argue, however, that their unease about the future of their art has as much to do with the genres in which they write and their suspicions about the shifting reading practices of future audiences as it does with the material vulnerability of the medium that transmits that art. In the sonnet sequence in particular, lyric poets who monumentalize their beloved partake in—and anxiously question—early modern practices of constructing funeral monuments for the living. I argue that these poets’ fantasy of entombing those who are still in the prime of their lives turns out to be less about a future rebirth than an obsessive, premature preparation for death. / text

This study places the poetry of Ingrid de Kok in a critical context that is strongly influenced by the political climate. Unlike political rhetoric, the nature of the lyrical poem is personal and complex, arguably rendering it defunct in a democracy that seeks to serve majority interests. De Kok’s challenge is to be a lyrical poet in the public sphere, to contain and represent the public interest within the personal form. I will examine how she rises to the historical occasion and extends her medium to incorporate the public event. At the same time, if she is to retain her voice as a lyrical poet, she must guard the privacy of its expression and the intimate spaces it seeks to delineate. In this way she asserts the validity of every-day concerns and of spaces traditionally designated as female. By interrogating the categories of personal and public I hope to project a complex vision of the possibilities of the lyric within contemporary South Africa. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2010.

Šiuo baigiamuoju bakalauru darbu buvo siekta išanalizuoti poeziją dienraščiuose „Raudonoji vėliava“/ „Šiaulių naujienos“ (1943–1994 m.). Eilėraščiai buvo klasifikuojami remiantis Vito Areškos poezijos skirstymo metodika (Vitas Areška „Lietuvių tarybinė lyrika“, 1983). Iškiriami keturi lyrikos tipai: manifestinė, naracinė, meditacinė ir dainiškoji. Darbo tikslas buvo išanalizuoti poeziją, jos specifiką dienraštyje „Raudonoji vėliava“ / „Šiaulių naujienos“. Tyrimas atskleidė, kad poezija regioninėje spaudoje mažai nagrinėta tema. Buvo pasirinkti aprašomasis ir analizės metodai. Tikslas padėjo suformuoti tokius uždavinius: 1)Išskirti vienu ar kitu laikotarpiu dominavusias poezijos grupes. 2)Išanalizuoti, kokios temos, problemos būdingos poezijai dienraštyje „Raudonoji vėliava“ / „Šiaulių naujienos“. 3)Išanalizuoti, kaip kito temos, problemos dienraštyje, kaip kito eilėraščių poetika. 4)Išskirti, kurių poetų eilėraščių buvo daugiausia išspausdinama dienraštyje. Tyrimas atskleidė, kad poezija regioninėje spaudoje mažai nagrinėta tema. Bakalauro darbe prieita išvadų, kad kiekvienu laikotarpiu vyravo skirtingos temos poezijoje. Istorijos įvykiai darė įtaką poetų temoms. / The aim of the work is to analyse poetry published in the regional newspapers „Raudonoji vėliava“, „Šiaulių naujienos“ (1943–1994). The poems were classified according to Vitas Areška method. (Vitas Areška. Lithuanian soviet lyrics 1983). Four types of lyrics were distinguished: manifest, narrative, meditative and melodious. The work is focused on analysing poetry, its particularities in the newspapers. The research showed that poetry in newspapers is the field which has not been extensively analysed. Descriptive and analysis methods were applied. The aim of the work helped to set up the tasks: 1.To distinguish dominent poetry groups of different periods. 2. To analyse which themes, problems which are characteristic to the poetry, published in “Raudonoji vėliava“ and “Šiaulių naujienos“. 3.To analyse the variation of themes and poetry itself. 4.To find out whose poetry was published most often. The research showed that poetry in regional newspapers is the sphere which requires detailed analysis. It can be concluded that each period had its specific themes in poetry. Historical events had an impact on the choice of the themes.

Die Diplomarbeit \"Übersetzung moderner arabischer Lyrik am Beispiel der Songtexte von Arabic-Rock-Bands\" beschäftigt sich mit der Frage, wie man einen arabischen Rocksong so ins Deutsche übertragen kann, dass er genreintern so originalgetreu wie möglich nachspielbar bzw. nachsingbar ist. Als mögliche Herangehensweise an das Übersetzen von Songtexten im Allgemeinen und Texten arabischer Rockbands im Besonderen beleuchtet diese Arbeit einzelne Schritte und Aspekte des Songtextübersetzens und untersucht die stilistischen Mittel, die in den Songtexten von Rockbands Verwendung finden.

Rabbit Lake explores the concerns of citizens who testified at hearings held by the Rabbit Lake Uranium Mine Environmental Assessment Panel throughout Saskatchewan in 1993. The poems that form my thesis are both lyrical and experimental, derived in part from the voices found in the Rabbit Lake transcripts. Inspired by rhizome theory and rhizomorphous structures, the voices in my thesis are nomadic: their primary impulse is to map interconnected histories and geographies; in so doing, these voices transcend boundaries and coalesce to form a polyphonic, non-linear narrative. The influence of ecocritical theory is reflected in poems that draw the reader’s attention to the non-human world affected by uranium mining, most notably in an interspersed series of experiments detailing various forms of lichen found throughout Saskatchewan. Various other textual experiments, including collage and erasure, are lines of flight within the rhizome of the thesis. The inclusion of “(inaudible)” passages found in the transcripts is intended to draw the reader’s attention toward what was misheard or left unsaid at the hearings. The presence of an “unknown” speaker is designed as a poetic and political intervention that enables elaborations. Beginning with Canada’s historical involvement in the Manhattan Project, that is, the United States’ earliest attempt to build a nuclear weapon, my thesis moves from Great Bear Lake, Northwest Territories, and into the lakes and waterways of Saskatchewan’s north. The voices that emerge, situated in association with lakes and rivers, include a chorus of women and a chorus of Indigenous elders, an invented uranium mining corporation, “Uraneco,” and several scientists, including a biologist and geophysicist, as well as an invented cosmochemist and limnologist. From Saskatchewan’s northern waterways, the voices wander outward, evoking sites affected by the nuclear industry beyond Saskatchewan’s borders, from crops in the province’s south historically affected by fallout from nuclear weapons’ testing in Nevada, to radioactive detritus left in the deserts of Iraq due the United States’ use of depleted Canadian uranium in munitions. The intention behind this figurative explosion of the thesis is to illustrate the extent to which a seemingly isolated uranium mine may affect the whole world.

Borges entiende la poesía como el diálogo de un yo con el mundo, pero a la vez, y en particular desde los años veinte, como una nueva forma épica que hemos denominado "nueva épica-lírica-preformativa-de instantáneas", donde lo íntimo y lo general, el sentimiento y lo racional, lo sensorial y lo cognitivo se conjugan transcendiendo en su espíritu cualquier tipo de definición genérica.

This thesis presents a new approach to the alterity of medieval texts in a psycho-literary analysis of the modes of consciousness informing one group of those texts, the Middle English religious lyrics. In a bilateral analysis, Part I establishes criteria for evaluating modes of ego and relates these criteria to what is known about medieval culture and mentality with examples from the lyrics; Part II examines textual evidence from these poems for indications of notions of the self and the way the self is experienced. The thesis argues that a major source of medieval alterity lies in the ready access in the Middle Ages to modes of consciousness comparable to that identified by the archetypal psychologist James Hillman as an imaginal ego. The imaging of various aspects of the self is surveyed: body-consciousness, modes of perception, and major self-awareness-enhancing experiences of life-suffering, woundedness, sickness, old age, and death. Hypnotic aspects of the lyrics are found to be particularly significant in maintaining this consciousness. (For complete abstract open document)

Thesis (Ph.D.)--Tufts University, 1998. / Adviser: Deborah Digges. Submitted to the Dept. of English. Includes bibliographical references (leaves 275-289). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Thesis (Doctoral)--Université de Bordeaux III-Michel de Montaigne, U.F.R. des lettres-littérature comparée, 2000. / Includes bibliographical references and indexes.

Thesis (Doctoral)--Université de Bordeaux III-Michel de Montaigne, U.F.R. des lettres-littérature comparée, 2000. / Includes bibliographical references and indexes.