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 a study of embedded song in ancient Greek narrative poetry. The introduction defines the terminology (embedded song is defined as the depiction of the performance of a poem within a larger poem, such as the songs of Demodocus in Homer’s Odyssey) and sets the study in the context of recent narratological work done by scholars of Classical literature. This section of the thesis also contains a brief discussion of embedded song in the Homeric epics, which will form the background of all later examples of the motif. Chapter 1 deals with embedded song in the Homeric Hymns and Hesiod’s Theogony. It is argued that the occurrence of embedded song across these poems indicates that the motif is a traditional feature of early Greek hexameter poetry, while the possibility of “inter-textual” allusion between these poems is considered, but finally dismissed. Chapter 2 focuses on Pindar, Bacchylides and Corinna, and explores how lyric poets use this motif in the various sub-genres of Greek lyric. In epinician poetry, it is argued that embedded song is used as a strategy of praise and also to boost the authority of the poet-narrator by association with the embedded performers, who can be seen to have in each case a particular source of authority distinct from that of the poet narrator. Chapter 3 considers the Hellenistic poets Apollonius Rhodius and Theocritus, and how their interest in depicting oral poetry meshes with their identity as literate and literary poets. Appendix I gives a list of all the examples of embedded song I have found in Greek poetry. Appendix II gives an account of Pindar’s Hymn to Zeus, a highly fragmentary poem which almost certainly contained an embedded song, analysing this as an example of the difficulties thrown up by lyric fragments for a study of embedded narratives.

An examination of the stanzas of The Faerie Queene reveals a structural complexity that prosodists have not previously discovered. In the prosody of Spenser's epic, two formal prosodic orders function simultaneously. One is the visible structure that has long been acknowledged and studied, eight decasyllabic lines and an alexandrine bound into a coherent entity by a set meter and rhyme scheme. The second is an order made apparent by an oral reading and which involves speech stresses, syntactical groupings, caesura placements, and enjambments. In an audible reading, elements are revealed that oppose the structural integrity of the visible form. The lines cease to be iambic, because most lines contain some irregularities that are incongruent with the meter. The visible structure is further counterpointed by Spenser's free use of caesura and frequent employment of enjambment to create a constantly varying structure of different line lengths in the audible form. This study also examines precedents that Spenser could have known for the union of music and poetry. English lyric poetry written for existing melodies is analyzedand the French experiments with quantitative verse supported with musical settings are discussed. Special emphasis is given to the musical associations of the Orlando furioso, particularly its relation to the tradition of singing narrative poetry to folk melodies. Internal support for the thesis that Spenser deliberately employed musical techniques in his prosody comes from his use of the Tudor masque in the structure of the epic. Evidence is offered to show that the processional masque is the unifying foundation for the whole of The Faerie Queene, A characteristic of the sixteenth-century masque was its combination of art forms, and Spenser found a method for integrating the arts of music and literature. Spenser uses musical techniques in the prosody that he could have expected would echo musical experiences of his reader, thereby creating the accompanying music. The musical techniques not only unify the individual stanzas; they also integrate the prosody with the larger organizing plan of the epic,

This thesis takes as its starting point current views on the relationship between man and god in Archaic and Classical Greek literature, according to which mortality and immortality are primarily temporal concepts and, therefore, mutually exclusive. This thesis aims to show that this mutual exclusivity between mortality and immortality is emphasised only in certain poetic genres, while others, namely those centred on extraordinary achievements or exceptional moments in the life of a mortal, can reduce the temporal notion of immortality and emphasise instead the happiness, success, and undisturbed existence that characterise divine life. Here, the paradox of momentary immortality emerges as something attainable to mortals in the poetic representation of certain occasions. The chapters of this thesis pursue such notions of momentary immortality in the wedding ceremony, as presented through wedding songs, in celebrations for athletic victory, as presented through the epinician, and at certain stages of the tragic plot. In the chapter on the wedding song, the discussion focuses on explicit comparisons between the beauty of bride and bridegroom and that of heroes or gods, and between their happiness and divine bliss. The chapter on the epinician analyses the parallelism between the achievement of victory and the exploits of mythical heroes, and argues for a parallelism between the victory celebration and immortalisation. Finally, the chapter on tragedy examines how characters are perceived as godlike because of their beauty, success, or power, and discusses how these perceptions are exploited by the tragedians for certain effects. By examining features of a rhetoric of praise, this thesis is not concerned with the beliefs or expectations of the author, the recipient of praise, or the surrounding milieu. It rather intends to elucidate how moments conceived of as extraordinary are communicated in poetry.

Ce mémoire porte sur les quatre premières tragédies lyriques de Quinault et Lully, soit Cadmus et Hermione (1673), Alceste (1674), Thésée (1675) et Atys (1676), et étudie la représentation des personnages féminins dans leur rapport à la violence. Se fondant sur des considérations sociohistoriques et dramaturgiques, il cherche à déterminer si, par leur liberté formelle, les premiers opéras français ont pu promouvoir une image plus libre et plus forte de la féminité que celle véhiculée par la doxa. Le premier chapitre aborde la question de la violence dans la société française du XVIIe siècle et du rapport des femmes à la violence, tant subie qu’engendrée. Il s’attarde ensuite aux particularités de la violence dans la tragédie lyrique, convoquant les notions de pathos et de catharsis, d’effet tragique et de représentation scénique. Recourant à une méthodologie basée sur les études littéraires et dramaturgiques et complétée par de brèves analyses musicales, le second chapitre analyse le rapport à la violence chez les personnages féminins du corpus : d’abord les mortelles, puis les surnaturelles, avant de comparer leur représentation dichotomique à celle plus diversifiée des personnages masculins. / This master's thesis will focus on the first four lyric tragedies that were written by Quinault and Lully, that is Cadmus et Hermione (1673), Alceste (1674), Thésée (1675), and Atys (1676), and examine the representation of female characters in their relation with violence. Based on socio-historical and dramaturgical considerations, it seeks to determine whether, through their formal freedom, the first French operas were able to promote a freer and stronger image of womanhood than the one conveyed by the doxa. The first chapter addresses the issue of violence in the French society of the 17th century and discusses women's relation with violence, suffered, as well as caused. It then details the peculiarities of violence in lyric tragedy by summoning the notions of pathos and catharsis, tragical effect and theatrical representation. Using a methodology based on literary and dramaturgical studies, complemented by short musical analysis, the second chapter analyzes the corpus' female characters' relation to violence – first, the deadly, followed by the supernatural, before comparing their dichotomous representation to the more diversified one of the male characters.

Denna studie utreder hur lyrik som genre kan berika svenskundervisningens didaktik på gymnasiet, vilka didaktiska metoder som kan tillämpas på lyrikundervisningen, samt vad som kan vara ett representativt urval lyrik för ungdomar. Undersökningen består av en kvalitativ litteraturstudie som utvärderades genom en diskursanalys, samt tolkningen av ett lyriskt urval. Studiens resultat påvisade att lyrik kan berika svenskämnets didaktik på gymnasiet, då språkutvecklingen främjas. Detta ger sig i uttryck genom att elever i lyrikundervisningen får möjlighet att reflektera både över sina egna och andras känslor och erfarenheter, vilket kan fungera som identitets- och personlighetsutveckling. Undersökningen har även påvisat att lyrikundervisningen berikar med kunskap om viktiga delar av kulturarvet, samt friheten att utforska språk och stil i skrivandet av egna dikter. Vidare bör lyrik appliceras på en läsarorienterad undervisining, då denna fokuserar på den enskilde läsarens personliga upplevelser av texten, vilket kan väcka intresse och mening för genren. Slutligen har undersökningen påvisat att det inte finns några givna svar rörande vad som kan användas som representativ lyrik för ungdomar i undervisningen, då genren ger uttryck för känslor, vilka bör betraktas som tidlösa och allmänmänskliga. Således är det lärarens uppgift att avgöra vad som kan vara relevant lyrik för ungdomar, baserat på vilken slags diskussion som ska föras och vilken insikt som önskas uppnås. / The study researches how lyrics as a genre could be used to enrich the Swedish education in upper secondary school, which didactic methods that can be applied to teachings of lyrics and what could be used as a good representation of lyrics for youths. The study includes a study of literature that was evaluated through a discourse analysis and interpretations of lyrical choices. The result of the study showed that lyrics can be used to enrich the didactics of the Swedish subject in upper secondary school as the language development was improved. This was shown as students who studied lyrics gets the opportunity to reflect upon both their own and others' emotions and experiences, which can be used as a tool for the development of self and identity. The study has further shown that studies of lyrics also enrich students with knowledge about important parts of the cultural inheritance and the freedom to explore language and style through the writing of their own poems. Furthermore, lyrics should be applied to a reader oriented education as it focuses on the individual readers' experience of the text, which could awaken interest and purpose for the genre. Finally, the study has shown that there are no given answers regarding what could be used as a representative lyrics for youths in the education as the genre provides the opportunity for the readers to express emotions which should be thought of as timeless and universal. Because of this, it is the teachers task to choose what could be regarded as relevant lyrics for youths based on what kind of discussion will be held and what kind of insight that should be achieved.