Ehrenmitglied Volker Braun war der Erste. Ihm folgten 54 weitere Lyrikerinnen und Lyriker, die mit ihrer Unterschrift ihre Verbundenheit mit der Leipziger Lyrikbibliothek bekunden. Die Petition richtet sich an potentielle Bücherstifter (vorrangig Dichterkolleginnen und -kollegen sowie Verlage) und desgleichen auch an die Entscheidungsträger der Kommunalpolitik. Zwei primäre Ziele sind mit dieser Aktion verbunden: Einerseits soll der Bekanntheitsgrad der Leipziger Lyrikbibliothek erhöht werden. Denn obwohl Trägerverein und Lyrikbibliothek im nächsten Jahr ihr 20-jähriges Bestehen feiern, ist der Sammelauftrag der Bibliothek über die Messestadt hinaus noch zu wenig bekannt. Andererseits soll die Lyrikbibliothek perspektivisch eine personelle und finanzielle Stärkung erfahren.

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This thesis is the first sustained study of the poet John Clare and his relationship to health. It considers health as an under-explored physical and mental state evoked across his poetry and prose that has heretofore been overshadowed by a critical preoccupation with his supposed madness. Under the banner of the Medical Humanities, I angle a critical lens on Clare and health beyond biographical readings of his mental deterioration and onto his written responses to the medical, cultural, and social understandings of health by which he was surrounded. Specifically, I argue that Clare articulates both his comprehension and also experience of health through poetic form. I take a thematic approach to the reach of Clare's works composed between 1804-1864, and focus on what I argue to be the most predominant 'forms' that health takes across his poetics: voice, breath, and place. The chapters unfold the poet's engagement with eighteenth- and nineteenth-century medical contexts such as nosology and theories of insanity, speech and elocution, climatic and atmospheric medicine, phrenology, and botany, in order to consider how the local formal techniques of his poems (metre and prosody, rhyme and other sonic devices, caesura, enjambment, and line-endings) shape and re-work the ideas of mental and physical health that these contexts put forward. Throughout the thesis I bring together formal and historical methodologies with modern phenomenological and cultural theories in order to draw out how Clare's exploration of health is both facilitated by the thinking of his own period, and also speaks to current research into health and illness as subjective experiences. Ultimately, I read health across Clare's poetry at the level of form in order to reveal how health inspires a textual mode that defies determinacy and unsettles distinctions between the healthy and the pathological. This thesis is the first sustained study of the poet John Clare and his relationship to health. It considers health as an under-explored physical and mental state evoked across his poetry and prose that has heretofore been overshadowed by a critical preoccupation with his supposed madness. Under the banner of the Medical Humanities, I angle a critical lens on Clare and health beyond biographical readings of his mental deterioration and onto his written responses to the medical, cultural, and social understandings of health by which he was surrounded. Specifically, I argue that Clare articulates both his comprehension and also experience of health through poetic form. I take a thematic approach to the reach of Clare's works composed between 1804-1864, and focus on what I argue to be the most predominant 'forms' that health takes across his poetics: voice, breath, and place. The chapters unfold the poet's engagement with eighteenth- and nineteenth-century medical contexts such as nosology and theories of insanity, speech and elocution, climatic and atmospheric medicine, phrenology, and botany, in order to consider how the local formal techniques of his poems (metre and prosody, rhyme and other sonic devices, caesura, enjambment, and line-endings) shape and re-work the ideas of mental and physical health that these contexts put forward. Throughout the thesis I bring together formal and historical methodologies with modern phenomenological and cultural theories in order to draw out how Clare's exploration of health is both facilitated by the thinking of his own period, and also speaks to current research into health and illness as subjective experiences. Ultimately, I read health across Clare's poetry at the level of form in order to reveal how health inspires a textual mode that defies determinacy and unsettles distinctions between the healthy and the pathological.

The submitted work is oriented towards the writing of young poets who made their authorial debuts into literary communication in the 1990s. It regards the creation of authors unburdered by experience with the cutural politics valid before November 1989, and therefore creation born in the complicated context of the post-totalitarian cultural situation in which very different traditions were combined, including traditions which were banned from public communication during the previous decades. Parallel with this process the young poetry of the 1990s was born, whose character was inevitably marked by the period interest in everything from the past that had been until recently forbidden. The work begins with an independent chapter devoted to the literary-critrical reception of young poetry in the 1990s. Aspects analyzed include the language, framework of values, criteria and expectations which were valid for contemporary literary criticism of young poetry in the 1990s. It is demonstrated that the key question for young poetry to answer was the question of what traditions it should draw upon in the changed and democratized cultural and social conditions. Expectations were oriented in the direction of the past, towards a connection with one of the worthy and newly non-proscribed traditions, rather than towards a neo-avantgarde seach for new expressive registers. The subsequent three chapters follow three expressive currents within the framework of young poetry of the 1990s {--} spiritual poetry, objective poetry and imaginative poetry. Analytical and interpretational explorations of these three currents are linked by a common point of view, which is a focus on the lyrical subject and the form of its stylization. This methodological point of departure leans on Červenka's theory of the the lyric subject, to which is devoted the independent theoretically oriented chapter in the introductory part of the work. This unified focus of attention on the lyric subject made it possible in the conclusion of this work to create a typology of the form of the lyric subject and to follow basic tendencies characteristic for subjectivity in the young poetry of the 1990s. It was demonstrated that the young poetry of the 1990s was willing to accept the three traditional lyrical modes and expressive registers, but it removes from them any kind of programmatic and ideological accents. Traditional lyrical modes, after their transplantation into a post-totalitarian and also post-modern situation, stop being part of a master narrative and therefore their original metanarrative character is eliminated (from spiritual poetry the explicit confessionality is lost, imaginative poetry removes surrealistic revolutionarity and psychologism, the poetry of objectivity eliminates the pathos regarding necessary developmental change, with it this lyrical mode was applied by Skupina 42). Traditions therefore do not continue to evolve in their original forms, but are selectively used with a view to the current state of culture and thought.

There exists between lyric poetry and music a bond that is at once tangible and grounded in practice, and yet that is indeterminate, a matter of perception as much as theory. From Graeco-Roman antiquity to the modern day, lyrical forms have brought together music and text in equal partnership: in archaic Greece, music and lyric poetry were inextricably (now irrecoverably) coupled; when lyric poetry flowered in the eighteenth century, composers harnessed text to music in order to create the new and fully integrated genre of Lieder; and in our contemporary age, the connection between word and music is perhaps most keenly felt in pop music and song 'lyrics'. In 2016, the conferral of the Nobel Prize for Literature on Bob Dylan brought to wider public attention the nature of lyric's poetical-musical bond: can Dylan be considered a poet if the meaning, syntax and expression of his words are dependent upon music? Is music supplementary to the words or are the two so harnessed that the music is in fact a facet of the poetic expression? The connection between music and poetry is perfectly clear in such integrated lyric forms as these, but a more indeterminate connection can also be felt in 'purely' musical or poetic works - or at least in the way that we perceive them - as our postRomantic, adjectival use of the word 'lyrical' shows. Describing music as lyrical often suggests that it carries an extra-musical significance, a deeply felt emotion, something akin to verbal expression, while a lyrical poem brings with it an emotive aurality and a certain musicality. Text and music of lyrical quality may, therefore, invoke the other for the purpose of expression and emotion so long as our understanding of lyric forms remains conditioned by the appreciation of an implied music-poetry relationship This thesis works within the overlap of music and poetry in order to explore the particular lyric voice of Catullus in the context of his twentieth-century musical reception. Whilst some of Catullus's poems may have been performed musically, what we know of poetry circulation, publication and recitation in first-century BCE Rome suggests that the corpus was essentially textual. Nevertheless, Catullus's poetry was set to music centuries later, not in reconstruction of an ancient model, but in new expression, suggesting not only that composers of the twentieth century found themes in Catullus's poetry that resonated in their own contemporary world but that they found a particular musicality, something in the poetry that lent itself to musical form. I argue that it is in these works of reception that we can most clearly identify the essence of Catullan lyricism. Moreover, by considering the process of reception, this thesis is able to take a broader view of lyric, identifying traits and characteristics that are common to both music and poetry, thus transcending the boundaries of individual art forms in order to consider the genre in larger, interdisciplinary terms.

Made available in DSpace on 2014-06-11T19:32:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-03-24Bitstream added on 2014-06-13T20:44:02Z : No. of bitstreams: 1 pereira_jc_dr_assis.pdf: 985535 bytes, checksum: 3534ba537aff8b282713b50062038e39 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / A partir do fenômeno da hibridização dos gêneros no texto literário moderno, abre-se a possibilidade de se investigar a poesia das narrativas de Malagueta, Perus e Bacanaço. Nesse processo crítico analisamos a realidade da obra como um fato de linguagem, que se realiza na confluência entre poesia e narrativa. Essa forma estética produz uma rarefação dos elementos narrativos em favor de um eu lírico, cuja poesia se concretiza no modo como a linguagem do texto organiza os elementos sonoros, rítmicos e imagéticos, além de apontar para o mundo. Este trabalho, portanto, se organiza em três momentos: no primeiro capítulo fazemos uma metacrítica a partir de um panorama do projeto literário de João Antônio, do qual destacamos o trabalho poético de Malagueta, Perus e Bacanaço; no segundo momento, os apontamentos de Adorno, Bosi, Octavio Paz, Bakhtin, Eliot, João Luís Lafetá, entre outros, sobre lírica e sociedade, servem de base para a verificação de como se processa essa relação na obra; por fim, com intuito de mostrar como se configura a poesia das narrativas joãoantonianas, fazemos a análise estilística destas. Dessa forma, olhar essa obra sob tal perspectiva é ampliar o trabalho estético de João Antônio, destacando os recursos utilizados por ele, nas narrativas poéticas, para argamassar dialeticamente lírica e sociedade. / Considering the phenomena of crossbreeding of the modern literay texts, it has been created a possible investigation of the poetry inside the novel, Malagueta, Perus e Bacanaço. In this critic process it is analysed the reality of this masterpiece as a fact of language that has created between poetry and narrative. This aesthetic format produces rare narratives elements in favor of the self lyric, whose poetry is showed in a way through the language of the text and how it organizes the sounds, the rhythm and the image elements and spread them to the world. Therefore, this work is organized in three steps: in the first chapter we make a critique of the complete literary work of João Antônio, then we detach the poetic work Malagueta, Perus e Bacanaço; in the second one, we quote Adorno, Bosi, Bakhtin, Eliot, João Luis Lafetá, among others about lyric and society, because they support the analyses towards to this relation; Finally, aiming to show how the poetry in Joao Antonio's narrative is exposed we analyze the style. Having the opportunity to look at this work with this point of view broadens the aesthetic work of João Antônio, highlighting the sources used by him to cement his work dialectic with the lyric and society.

Submitted by Renato Luís de Castro Aguiar Silva (renatodcasttro@gmail.com) on 2016-08-01T16:28:18Z No. of bitstreams: 1 CACASO-Salvo-Automaticamente.pdf: 888121 bytes, checksum: 64beb3705bdac41ca8fe8363646989ad (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-08-03T14:02:46Z (GMT) No. of bitstreams: 1 silva_rlca_me_arafcl.pdf: 888121 bytes, checksum: 64beb3705bdac41ca8fe8363646989ad (MD5) / Made available in DSpace on 2016-08-03T14:02:46Z (GMT). No. of bitstreams: 1 silva_rlca_me_arafcl.pdf: 888121 bytes, checksum: 64beb3705bdac41ca8fe8363646989ad (MD5) Previous issue date: 2016-05-31 / Este trabalho tem por objetivo estabelecer os paralelos possíveis entre a letra e poesia de Antônio Carlos de Brito, o Cacaso. De modo a comparar algumas de suas concepções e posições em relação à poesia, com a sua efetiva obra musical e com os mecanismos da canção, essa modalidade artística que conjuga música e poesia. Acompanharemos assim a sua trajetória de acordo com o lançamento de seus livros e canções, dando os contrastes e contaminações dispostas entre si e a respectiva coerência que tomam no percurso estético do poeta. Centrados assim em averiguar a influência do meio musical, atrelada ao plano de sua poesia, de sua atuação no meio cultural. / This paper aims to establish the possible relation between Antonio Carlos de Brito’s lyrics and poetry in order to compare conceptions about poetry but also regarding Cacaso’s musical production and lyric mechanisms; in other words, this artistic notion that associates song and poetry. Therefore, we will follow Cacaso’s path according to the launch of his books and lyrics, emphasizing its relation beyond its own aesthetics coherence. Hence, we intend to verify how the musical environment influences his poetry, his cultural role and, in some measure, his literally critics.

Através de uma leitura comparativo-contrastiva da tradição da lírica medieval galego-portuguesa e da poesia de Trovas de muito amor para um amado senhor, volume publicado pela escritora brasileira Hilda Hilst (1930 2004) em 1960, este trabalho propõe uma leitura dos modos pelos quais essa tradição constitui-se em estratégia privilegiada pela autora para a elaboração de uma subjetividade poética que só se pode afirmar e constituir plenamente na presença do Outro. Nesse sentido, a própria escrita poética definir-se-ia como incessante movimento de busca de um amado ausente, cuja condição permitiria aproximá-lo à noção do absolutamente Outro, postulada pelo filósofo Emmanuel Lévinas. Assim, enquanto impulso desejante condenado inevitavelmente ao malogro, o poema dobrar-se-ia sobre si mesmo, movimento do qual resultaria uma lírica de amor ao próprio texto poético. / Through a comparative-contrastive reading of the medieval Galician-Portuguese lyric tradition and of the poetry of Trovas de muito amorpara um amado senhor, volume published by the Brazilian writer Hilda Hilst (1930- 2004) in 1960, this work proposes a reading of the ways through which this tradition constitutes itself in a strategy privileged by the author for the elaboration of a poetic subjectivity that can only affirm and fully constitute itself in the presence of The Other. In that sense, the poetic writing would define itself as a ceaseless movement in search of an absent lover, whose condition would allow to approximate it to the notion of the absolutely Other, postulated by the philosopher Emmanuel Lévinas. Thus, as a desiring impulse inevitably condemned to frustration, the poemwould unfold on itself, a movement from which a lyric of love for the poetic text itself would result

Este trabalho discute as especificidades da poesia seiscentista produzida em Portugal e no Brasil Colônia, propondo a noção de amor agudo para caracterizar sua variada lírica amorosa. Em busca desse objetivo, a leitura dos poemas segue os caminhos da imitação, termo fundamental para se compreender a produção retórico-poética dos séculos XVI e XVII. Os poemas líricos dos quais partem as análises, ou seja, tanto aqueles autorizados (ainda que, muitas vezes, com atribuições de autoria questionáveis) pelos nomes de reconhecidos poetas seiscentistas, como Antônio Barbosa Bacelar, D. Francisco Manuel de Melo, Frei Antônio das Chagas, Gregório de Matos, Jerônimo Baía, Manuel Botelho de Oliveira e Violante do Céu, quanto aqueles ditos anônimos ou de autoridades poéticas menos constituídas, como Bernardo Vieira Ravasco e Manuel de Faria e Sousa, todos eles, enquanto imitações, exigiam dos leitores ou ouvintes cultos da época o reconhecimento de seus modelos poéticos; por isso, este estudo recorre, frequentemente, a Camões e Góngora, por exemplo. Porém, imitar as auctoritates para se fazer auctoritas, no século XVII, não era apenas copiar servilmente; os poetas seiscentistas emulavam seus modelos, elaborando composições engenhosas e agudas mais adequadas ao decoro dos tempos. Desse modo, a agudeza é noção central na preceptiva retórico-poética seiscentista e, portanto, também o é neste estudo. Como se procura demonstrar, dessa poesia aguda decorre a confecção de um amor igualmente agudo, isto é, um amor que não é expressão subjetiva e original de indivíduo algum, mas que aparece em poemas cujos efeitos inesperados são retórica e poeticamente construídos. Fruto de imitações, o amor agudo é ovidiano, cortês, petrarquista, camoniano, marinista, gongórico; miscelânea de doutrinas, é platônico, estoico, epicurista, cristão; definindo-o, nesta tese, pretende-se reunir a variedade poética da lírica amorosa seiscentista, feito agudo caule que sustenta cultas flores / The present work articulates the specificities of 17th-century poetry produced in Portugal and in Colonial Brazil as it proposes the notion of witty love to characterize its diverse love lyric poems. Pursuing this perspective, the reading of these poems follows the path of imitation, a fundamental term to understand the rhetorico-poetic production of the 16th and 17th centuries. The lyric poems from which the analyses depart, that is, both those penned (despite a questionable attribution of authorship in many cases) by well-known 17th-century poets such as Antônio Barbosa Bacelar, D. Francisco Manuel de Melo, Frei Antônio das Chagas, Gregório de Matos, Jerônimo Baía, Manuel Botelho de Oliveira, and Violante do Céu, and those deemed anonymous or with a less constituted poetic authorship, such as Bernardo Vieira Ravasco and Manuel de Faria e Sousa, all these poems, as imitations, demanded that the learned readers or listeners of the time recognize their poetic models; for this reason, this study often draws from Camões and Góngora, for instance. In any event, in the 17th century imitating the auctoritates to forge auctoritas did not only mean to copy obsequiously; 17th-century poets emulated their models, crafting ingenious and witty compositions that were more suitable to the decorum in vogue. Thus wit is a central notion in 17th-century rhetorico-poetic precepts, and it will also be so in this study. As I will demonstrate, from this wit poetry ensues the crafting of an equally witty love, that is, a love that is not the subjective and original expression of any individual, but one which is present in poems whose unexpected effects are rhetorically and poetically forged. The fruit of imitations, witty love is Ovidian, courtly, Petrarchan, Camonian, Marinist, Gongorian; miscellanea of doctrines, it is Platonic, Stoic, Epicurean, Christian; by defining it in this dissertation, I intend to gather the poetic variety of 17th-century love lyric, like an acute stem that supports learned flowers

Made available in DSpace on 2014-07-29T16:19:13Z (GMT). No. of bitstreams: 1 Rosidelma_FRAGA_DISSERTACAO_ Mestrado_2009_PDF.pdf: 727714 bytes, checksum: 5caefe23ef34febc8596471a1645910d (MD5) Previous issue date: 2009-04-13 / This dissertation has as its aim to examine according to praxis of Comparative Literature, the lyrical poetry of two important representatives of Brazilian and of one African contemporary literature. The research begins with critical reflections about modernity and contemporaneousness as present in the poems of Manoel de Barros, considered some contributions of academic criticism about his poetics and pointed out to a possible place for this poet in Brazilian Literature. We made efforts for outlining the ways followed by the other two poets, João Cabral de Melo Neto and Corsino Fortes, tackling the reception literary criticism gave to his productions. Then the research centered in theoretical reflections about subjectivity and its ramifications in the studied poems. This allowed a discussion of the lyric subject, the image and the flame of eroticism. In a third moment, the research revolved around approaches of signs of childhood as lived experiences according to lyric memory, contributing to the presence of myth. The work still centered in metalanguage, as well in a search under words that evoke the mineral and to language childhood, producing a meeting of stones, rivers, islands and wind which goes beyond intertextual metaphor. We integrated and usefulness to this bibliographical survey three unpublished interviews. The first with the poet Manoel de Barros, the second with Antônio Carlos Secchin, from UFRJ, and the third with Simone Caputo Gomes, one of the main researchers of the Center of African Researchs of the University of São Paulo / Esta dissertação teve como objetivo, à luz de Literatura Comparada, proceder a uma pesquisa sobre a poesia lírica de dois grandes representantes da literatura brasileira e um da literatura cabo-verdiana. Inicia-se com reflexões críticas acerca da modernidade e contemporaneidade nos poemas de Manoel de Barros e algumas contribuições da crítica acadêmica sobre sua poética, apontando um possível lugar para o poeta na literatura brasileira. De modo semelhante, trilharam-se caminhos para a análise da obra de dois outros poetas João Cabral de Melo Neto e Corsino Fortes , com foco na recepção da crítica literária sobre a produção do Pernambucano e na leitura inicial da obra de Corsino Fortes. Em seguida, o estudo centrou-se em questões teóricas acerca da subjetividade e seus desdobramentos nos poemas do corpus da pesquisa, com uma discussão sobre o sujeito lírico, a imagem e a chama do erotismo. Paulatinamente, a pesquisa girou em torno dos indícios da infância como experiências vivenciadas, conforme a memória lírica, contribuindo para a presença do mito de origem. Além disso, incluem-se uma reflexão sobre a metalinguagem e um olhar de leitmotiv sobre as palavras que remetem ao mineral e à infância da língua, formando um encontro de pedras, rios, ilhas e ventos, considerado no contexto da pesquisa como uma metáfora intertextual. Como integração e utilidade na análise analítica dos poemas, incluem-se, ao final da dissertação, três entrevistas inéditas: a primeira com o poeta Manoel de Barros, a segunda com o Prof. Dr. Antônio Carlos Secchin, da UFRJ, e a terceira com a Profª. Drª Simone Caputo Gomes, uma das pesquisadoras do Centro de Estudos Africanos da Universidade de São Paulo