In this study it is assumed from a central theoretical argument that the Bible based, scripturally true liturgical song, possesses an exceptional bonding structure. The set literary archetypes of the dramatic, epic and lyric - or the dramatical, epical and lyrical - are woven together to form the canvas for the hymnical praise of the worshipping community. The aim of the study is to dissect the relationship in which the archetypes stand to one another and to establish which trans–generical phenomena and movements can be detected in order to determine what their meaning is for liturgical songwriting. This is done on the basis of an analysis of the Book of Revelation, specifically pertaining to the hymnographical corpus in the book. To do this the most obvious meta–theory of this study is the literary theory, while the basis, principles and guidelines of the hymnographical basistheory are determined by theological biblical science. In the first main chapter (meta–theory) of the study the questions of what literature is and whether the Bible is literature, are explored and answered. The conclusion to this is that the Bible is true literature and that this religious script plays a central, unique and prominent role in the progression of the christian–western cultural world. In the process of determining the different approaches to the study of literature, note was taken of the various theoretical assumptions and theories and of the influence that each has and can have on theological biblical scientifical research. In the second main part (inter–disciplinary theoretical aspects) the investigation proceeds from the study of meta–theoretical literary terrain identification to the determining of the connection, link, sym–biosis and synergy between the literary meta–theory and the theological basistheory of this study. Shared and partly overlapping study terrains of the literary sciences and the bibilical sciences are explored. This leads to the demarcation of both an inter–disciplinary and multisubdisciplinary field of study, for which an approach and a method to further explore had to be developed. In the third main part (basistheory) the perspectives gained in the first two parts are unlocked to the advantage of the biblical scientifical study of Revelation. The last book of the Bible is analysed macro–structurally by means of a narratological reading and accompanied by a cursory–exegetic explanation, after which the meaning of the corpus of hymnical microtexts in their context within the macro–structure are further unlocked by means of detailed exegesis. In this way basis–theoretical hymnographical priniciples in Revelation can be identified. These are integrated in the fourth and last main part and are then concretised, using a song as example, in guidelines for hymnography. In this final main part (the outcome of the study) the investigation reaches its set aims as well as the overall goal in that it could be verified that the canvas of the liturgical song should be integrated successfully not only wordperfect, but also Wordperfect in all its facets through literary quality and biblical–principled motivation. This should allow the flame (= liturgical song) of the sacrifice of thanksgiving (= worship) to burn brightly in a time of diverse positions on church song. / Thesis (Ph.D. (Liturgics))--North-West University, Potchefstroom Campus, 2012.

Although mythological monsters have rarely been examined in any collective and comprehensive manner, they constitute an important cosmic presence in archaic and classical Greek poetry. This thesis brings together insights from the scholarly areas of 'monster studies' and the 'sensory turn' in order to offer readings of the sounds made by monsters. I argue that the figure of the monster in Greek poetry, although it has positive attributes, does not have a fixed definition or position within the cosmos. Instead of using definitions of monstrosity to think about the role and status of Greek monsters, this thesis demonstrates that by listening to the sounds of the monster's voice, it is possible to chart its position in the cosmos. Monsters with incomprehensible, cacophonous, or dangerous voices pose greater threats to cosmic order; those whose voices are semiotic and anthropomorphic typically pose less serious threats. The thesis explores the shifting depictions of monsters according to genre and author. In Chapter 1, 'Hesiod's Theogony: The Role of Monstrosity in the Cosmos', I consider Hesiod's genealogies of monsters that circulate and threaten in the nonhuman realm, while the universe is still undergoing processes of organisation. Chapter 2, 'Homer's Odyssey: Mingling with Monsters', discusses the monster whom Odysseus encounters and even imitates in order to survive his exchanges with them. In Chapter 3, 'Monsters in Greek Lyric Poetry: Voices of Defeat', I examine Stesichorus' Geryoneis and the presence of Centaurs, Typhon, and Gorgons in Pindar's Pythian 1, 2, 3, and 12. In lyric, we find that these monsters are typically presented in terms of the monster's experience of defeat at the hands of a hero or a god. This discussion is followed by two chapters that explore the presence of the monster in Greek tragedy, entitled 'Centripetal Monsters in Aeschylus' Prometheus Bound and Oresteia' and 'Centrifugal Monsters in Greek Tragedy: Euripides and Sophocles.' Here, I argue that in tragedy the monster, or the abstractly 'monstrous', is located within the figure of the human being and within the polis. The coda, 'Monstrous Mimesis and the Power of Sound', considers not only monstrous voices, but monstrous music, examining the mythology surrounding the aulos and looking at the sonic developments generated by the New Musicians.

The graduation thesis The contemporary face of the folkloric tradition in the village of Blatnice pod Svatým Antonínkem thematically follows the bachelor thesis The elements of the documented folklore in the contemporary cultural life of the village Blatnice pod Sv. Antonínkem and their current position in the village culture, which focused on documentation of all available music and song material recorded in the past in the village and accessible in the editions or the databases of relevant professional institutions. The subject of this thesis is the confrontation of the obtained material with the current state of folklore tradition in the village. Comparisons are based on materials from repeated field collections, including a questionnaire method for capturing citizens' attitudes to folklore, way and degree of preservation of traditions. The reader of this thesis is acquainted with the state of folklore in Blatnice in general. The following chapters on folklore year: inform on the preservation and dwindling of certain traditions as they currently appear, and which local folk clubs are involved in the preservation or restoration of folklore. The conclusion summarizes all the information along with the results of the survey and potential future use.

Porté par l'élan de reconquête des âmes qui anime la Réforme catholique, Antoine Godeau (1605-1672) élabore une ample œuvre poétique spirituelle dont les Poësies chrestiennes, publiées pour la première fois en 1633, sont une manifestation exemplaire. Devenu évêque de Grasse en 1636, il n'aura de cesse de mettre ses talents de poète au service de l'édification de ses lecteurs. Le recueil que nous éditons dans sa dernière version (1660) consiste en une pastorale lyrique et catholique à destination des mondains. Le pasteur polygraphe cultive une diversité des formes, des tons et des sujets pour assurer la transmission des dogmes chrétiens et donner accès à la Bible. Le recueil, par ses changements d'orientation nombreux, assume une fonction expérimentale, en devenant le laboratoire de l'ensemble de l'œuvre lyrique et pastorale de Godeau. La poétique godélienne de la pastorale lyrique repose sur la conciliation de l'enthousiasme divin et de la raison, de la grâce et de la beauté. La paraphrase des Écritures offre tout particulièrement l'occasion au poète d'explorer les possibilités d'une rencontre du Calvaire et du Parnasse et d'interroger la spécificité d'une langue poétique classique en formation, en associant la douceur et la clarté. La poésie apparaît comme le medium par excellence pour insinuer les vérités chrétiennes dans le cœur du fidèle. La conversion religieuse des topiques littéraires profanes prépare le lecteur mondain à entendre le discours énergique du poète prédicateur. Ce dernier tempère son anthropologie augustinienne en promouvant une vie mondaine tournée vers Dieu, selon l'idéal de l'honnêteté chrétienne. Les codes d'écriture mondains spiritualisés par le poète témoignent d'un souci constant d'accommodation du discours de conversion à un public désireux d'être édifié par le delectare. / Antoine Godeau (1605-1672) first published the Poësies Chrestiennes in 1633 in the context of the Catholic Reformation which encouraged spiritual revival. This lyric collection is emblematic of his comprehensive poetic and spiritual work. Godeau became the Bishop of Grasse in 1636 and devoted his poetic gifts to enlightening the readers. This new edition is the latest version of the Poësies Chrestiennes (1660), which is pastoral Catholic verse addressed to the socialites of the time. The versatile poet expressed himself in various forms, registers and topics to convey the Christian dogma and the Bible. The content and the purpose of the book fluctuated. The Poësies chrestiennes was thus a field for experimentation : it became Antoine Godeau's laboratory for all his pastoral and lyric work. The poet defined the principles of a poetry which was based on the conciliation of divine enthusiasm and reason, a poetry where grace and beauty met. The paraphrase of the Scriptures was an opportunity to explore the conciliation of Parnassus and Calvary, as well as the specificity of a classical poetic language in the making, endowing it with gentleness and clarity. Poetry appeared to be the ideal way to instill Christian truths in the heart of the faithful. The religious conversion of secular literary rhetoric prepared the layman to hear the poet-preacher’s vigorous speech. Antoine Godeau tempered his Augustinian anthropology by promoting a life both wordly and pious, in chime with the ideal of Christian “honnêteté”. The poet spiritualized profane aesthetics, which showed his unrelenting desire to adapt his conversion discourse to a public eager to be edified by the “delectare”.

SANTOS, Maicon Araújo. Uma voz lírica em tempos de crise: a poesia de Lêdo Ivo nos anos 1940. 2012. 106 f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2012. / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-07-09T14:55:12Z No. of bitstreams: 1 2012_DIS_MASANTOS.pdf: 562571 bytes, checksum: dccf205859e0e9e2b2384c9ca564d0db (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-17T12:21:40Z (GMT) No. of bitstreams: 1 2012_DIS_MASANTOS.pdf: 562571 bytes, checksum: dccf205859e0e9e2b2384c9ca564d0db (MD5) / Made available in DSpace on 2012-07-17T12:21:40Z (GMT). No. of bitstreams: 1 2012_DIS_MASANTOS.pdf: 562571 bytes, checksum: dccf205859e0e9e2b2384c9ca564d0db (MD5) Previous issue date: 2012 / O presente trabalho propõe-se a analisar a poesia do escritor alagoano Lêdo Ivo (1924) produzida nos anos 1940, particularmente as obras Ode e elegia, de 1945, segundo livro do autor, e Ode ao crepúsculo, de 1946, quarto livro na sequência de suas publicações. Vê-se nessas obras o discurso de sobrevivência do gênero lírico equilibrado com a preocupação formal dos autores de 45 e, ao mesmo tempo, revelador de uma resistência contra a “coisificação do mundo”, de que nos fala o filósofo Theodor Adorno. Ode e elegia será abordada a partir das considerações de Adorno a respeito da relação entre Lírica e Sociedade. Em Ode ao crepúsculo, será destacado o sentido de resgate da autenticidade da vida sugerido pela poesia de Lêdo Ivo, a procura do Ser do homem, com base nas ideias de Martin Heidegger sobre o Ser e o mundo

Através da poética telúrica, escrita pelos poetas-membros da Academia Sul-Mato-Grossense de Letras, propomos discutir questões de identidade e representação. Nosso estudo tem como recorte temporal as décadas de 1980, 1990 e 2000 e concentra-se somente em textos poéticos publicados nos dois periódicos da Academia: o Suplemento Cultural e a Revista da Academia Sul-Mato-Grossense de Letras. O olhar investigativo está focado nos aspectos literários dos textos e a discussão parte do princípio de que o conteúdo desta poética permite verificar, em termos de representação, a identidade cultural do povo sul-mato-grossense, entendendo-se por identidade cultural o sentimento de pertença a um espaço. Para a leitura analíticointerpretativa dos textos poéticos nos apropriamos, basicamente, da teoria dos estratos, contida em A obra de arte literária, de Roman Ingarden. / Through telluric poetic, written by poets belonging to Sul-Mato-Grossense Letters Academy, we propose to discuss questions on identity and representation. The study has got as temporal cut the decades of 1980,1990 and 2000 and focus only on poetic texts published on the two Academy journals: Suplemento Cutural and a Revista Academia Sul-Mato-Grossense de Letras. The investigative look centers on the texts literary aspects, and the discussion is based on the assumption that the poetic content can reveal, in terms of representation, the sul-matogrossense people cultural identity, having cultural identity as belonging feeling related to a space. To the poetic texts analytical-interpretative reading, we used, basically, the Roman Ingarden's strata-layers' theory.

Writing in the 1890s, in an early account of Tennyson’s poetry, the Victorian anthologist F. T. Palgrave was keen to maintain the myth of the spontaneous singer. ‘More than once’, he recorded, Tennyson’s ‘poems sprang’ from a ‘nucleus’, ‘a brief melodious phrase’ or ‘song’, which, if not transcribed immediately, ‘fled from him irrecoverably’. It has long been the case with poets of ‘lyrics’ and ‘songs’ that their skills have been depicted as improvisatory, fleeting, or inspired. Their skills have been understood, variously, as indicative either of the most dexterous of intellects, or of brilliant but uncontrolled visions, a ‘flash’ of prophetic insight or revelation – a feel of what Shelley likens to ‘the interpenetration of a diviner nature through our own’. For many poets, however, the reality is one of inspiration that gives birth to intense manuscript activity and revision. It is now well known that Tennyson revised and re-revised, even after publication, until only weeks before his death; and yet no book-length study has pursued the significance of his manuscript revisions for the development of his style. This thesis traces the poet’s stylistic evolution through his notebooks, drafts, and printed volumes. Uncovering new literary manuscripts from Harvard, Lincoln, Cambridge, and New York, the study offers a more comprehensive picture of the poet’s craft: one alert to his evolving ambitions, and to the immense shifts that he effected in the landscape of English verse. The thesis begins by excavating how the notion of poetic ‘song’ fuelled a creative process at the heart of Tennyson’s revisions. In tracing the diverging fates of ‘lyric’ and ‘song’ across his notebooks, the opening chapter restores an important discourse for Tennysonian sonority that has comparatively declined in recent years. Chapter II examines Tennyson’s aesthetic control over the Victorian lyrical canon, drawing on a new manuscript of ‘The Golden Treasury’, the most significant anthology of the nineteenth century. Chapter III studies the notebook containing Tennyson’s first collection of verse, ‘Poems, by Two Brothers’. It reveals how much of the poor punctuation that sparked vehement attacks – and which is reproduced in modern editions – was not, in fact, inserted by the poet. Chapter IV explores how Tennyson’s most famous early songs and lyrics, published in ‘Poems, Chiefly Lyrical’, developed in tandem with his blank verse style. Chapters V and VI illuminate Tennyson’s ‘ten year silence’, which witnessed profound innovations in form, the revision of his 1832 Poems into his celebrated collection of 1842, and the creation of ‘In Memoriam’. Chapters VII and VIII piece together the notebooks, proofs, drafts, and revision copies of ‘The Princess’, Tennyson’s medley of songs and voices, lyrics and blank verse. By its end, the study reveals how the ringing qualities of his works emerged through manuscript revision: in the interplay between sonorous forms and narratives that came, over decades of change, to shape the distinctive drama of Tennyson’s style.

Made available in DSpace on 2015-03-26T13:44:32Z (GMT). No. of bitstreams: 1 texto completo.pdf: 782845 bytes, checksum: d5a2cdcfe1928d00903055e3fd7522ff (MD5) Previous issue date: 2014-04-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work focuses on the analysis of some poems of Paulicéia Desvairada (1922) and Lira Paulistana (1945) in order to observe the street as a place of sociability of the modern man. Paulicéia Desvairada was the first book of modern poetry published in Brazil. The work marks the beginning of the break up with traditional poetic structures with innovative language and stylistic features, such as free and polyphonic verses and dissonances. In Lira Paulistana, innovations are giving way to more regular verses with rhymes and choruses. These two poetic works, apart for over twenty years, poeticized the city of São Paulo in different ways, this place is the great theme of the poems. In Paulicéia Desvairada, the São Paulo city still has remnants of a provincial past, the self-lyrical lies in the crowd and on the streets who are going through a process of modernization. In Lira Paulistana, the city of São Paulo is now a metropolis, the self-lyrical feel even more in the anonymity of this modern streets. In this case, we propose to analyze some poems of Paulicéia Desvairada (1922) and Lira Paulistana (1945), in order to focus our attention between the "I" and the "city", already well identified by criticals, who are aware to the concept of polissensorial and semanticized space and historical and social aspects of the city of São Paulo in the 1920s and 1940s. As we approached these two works of the writer, we realized that he sees some problems about the changes in the city and the consequences caused by these changes, which, for him, it fades the human relationship away. / O presente trabalho detém-se na análise de alguns poemas de Paulicéia Desvairada (1922) e Lira Paulistana (1945) com o intuito de observar a rua enquanto local de sociabilidade do sujeito moderno. Paulicéia Desvairada foi o primeiro livro de poesia modernista publicado no Brasil. A obra marca o início do rompimento com as estruturas poéticas tradicionais, apresentando linguagem e recursos estilísticos inovadores, tais como versos livres, versos polifônicos e dissonâncias. Já em Lira Paulistana, as inovações cedem lugar a versos mais regulares, com rimas e refrãos. Nessas duas obras poéticas, distanciadas por mais de vinte anos, a cidade de São Paulo, poetizada de formas distintas, é o grande tema dos poemas. Em Paulicéia Desvairada, a cidade paulistana apresenta ainda resquícios de um passado provinciano, o eu- lírico encontra-se em meio à multidão e diante de ruas que estão passando por um processo de modernização. Na Lira Paulistana, a cidade de São Paulo já é uma metrópole, o eu-lírico sente-se ainda mais no anonimato das ruas prontamente modernas. Nesse sentido, nos propomos a analisar alguns poemas das obras Paulicéia Desvairada (1922) e Lira Paulistana (1945), observando a tensão entre o eu e a cidade , já bastante identificada pela crítica, atentos ao conceito de espaço polissensorial, espaço semantizado e aspectos históricos e sociais da cidade de São Paulo nos anos 1920 e 1940. Ao aproximarmos essas duas obras do escritor, foi possível perceber que ele problematiza as mudanças ocorridas na cidade e as consequências causadas por essas mudanças, que, para ele, dilaceram, aos poucos, as relações humanas.

Made available in DSpace on 2014-12-17T14:36:12Z (GMT). No. of bitstreams: 1 HerciliaMF.pdf: 1039662 bytes, checksum: 8210e0d427f6eccad7da7a78ca03ac0b (MD5) Previous issue date: 2008-10-29 / The research Cec?lia Meireles and the Pedagogical Lyric in Children My Love (1924) consists in a critical analysis, a cultural and historical approach to the pedagogical intentionalities and to the social and educational functionalities expressed in the childish literary work of the poetess and educator Cec?lia Meireles (1901-1964), in Brazil, during the first decades of XX century. The author s conceptions of the literary art, the philosophical and educational foundations, the Christian and liberal ideologies and values pertinent to her work for children and the relations between her texts and the ideals of the Brazilian intellectuals to effect changes in the every day life based on the child formation and on the teaching feminization process were examined in the work. This paper shows a content analysis with the intention of offering signification to the work Children My Love (1924) according to the investigation of specific categories: child, motherhood and schooling; through the exploration of synonymous and bipolar key-words found in Cec?lia s documents: child/adult, teacher/mother; school/home, ignorance/intelligence. The research intends to understand how the author articulates, in her informal pedagogical action in Children s Literature, science, literary and Christian faith knowledge, in order to expand her social and educational ideal concentrated in children, guided by the maternal hand and aimed at constructing a New Man, New Civilization and a New Social Order / O trabalho de pesquisa Cec?lia Meireles e a L?rica Pedag?gica em Crian?a meu Amor (1924) consiste em uma an?lise cr?tica, numa abordagem hist?rico-cultural, das intencionalidades pedag?gicas e funcionalidades s?cio-educativas expressas na produ??o liter?ria infantil da poetisa e educadora Cec?lia Meireles (1901-1964), no Brasil, durante as primeiras d?cadas do s?culo XX. No trabalho examinam-se as concep??es de arte liter?ria da autora, fundamentos filos?fico-educacionais, valores e ideologias liberais crist?s pertinentes ? sua produ??o para crian?as e as rela??es de seus textos com os ideais dos intelectuais brasileiros para efetivar modifica??es no cotidiano a partir da forma??o da crian?a e do processo de feminiza??o do magist?rio. O estudo realiza uma an?lise de conte?dos, buscando oferecer significa??o ? obra Crian?a meu amor (1924) conforme a investiga??o de categorias espec?ficas: crian?a, maternidade e escolariza??o; por meio da explora??o de palavras-chave sin?nimas e bipolares identific?veis nos documentos de Cec?lia: crian?a/adulto, professora/m?e, escola/lar, ignor?ncia/intelig?ncia. A pesquisa busca compreender como a autora articula, em sua a??o pedag?gica n?o-formal na Literatura Infantil, os saberes da ci?ncia, da literatura e da f? crist?, a fim de expandir seu ide?rio s?cio-educacional centrado na crian?a, guiado pela m?o materna e voltado ? constru??o de um Novo Homem, Nova Civiliza??o e Nova Ordem Social

Made available in DSpace on 2014-12-17T15:06:58Z (GMT). No. of bitstreams: 1 CeliaMS_DISSERT.pdf: 679549 bytes, checksum: 277a60aa77540a0f815106290bb48fa4 (MD5) Previous issue date: 2012-09-25 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This work brings up a review on the poetic works of Cruz e Sousa, a nineteenth-century Brazilian poet. Laughter has been chosen as an analytical category, because it is a pertinent theme which makes possible a more accurate comprehension of the lyric content of Cruz e Sousa s poetic works. The laughter manifested in his verses is seen as a mechanism which compensates both normativeness and seriousness, as well as turns inside out whatever society establishes as being natural or an absolute truth. Amongst his poems, we will focus on the ones which express their lyric nature both through laughter and irony, since these elements serve as a means to criticize the Brazilian society in the late nineteenth-century and early twentieth-century. This study is guided by theories of laughter proposed by Minois (2003), Bakhtin (1993), Bergson (2007), as well as Adorno s (2003) and Antonio Candido s (2010) theoretical assumptions concerning lyric poetry and society / O presente trabalho apresenta uma an?lise sobre a poesia de Cruz e Sousa, poeta brasileiro do s?culo XIX. Para este fim, toma-se o riso como categoria anal?tica por se tratar de um tema pertinente que possibilita uma melhor compreens?o do teor l?rico de sua obra po?tica. O riso nos versos de Cruz e Sousa ? visto como mecanismo de contrapeso ? normatividade e ao princ?pio de seriedade estabelecidos, al?m de colocar pelo avesso o que a sociedade institui como sendo verdade natural ou absoluta. No conjunto po?tico, interessa-nos analisar os poemas que expressam o teor l?rico na dupla vertente do riso e da ironia, visto que s?o usados como meios de cr?tica ? sociedade, em especial ? sociedade brasileira do final do s?culo XIX e in?cio do s?culo XX. Para tanto, utilizamos como suporte te?rico as teorias sobre o riso elaboradas por Minois (2003), Bakhtin (1993) e Bergson (2007), bem como as teorias referentes ? l?rica e ? sociedade de Adorno (2003), e Antonio Candido (2010)