Inaug.-Diss.--Tubingen. / Vita. Bibliography: p. 143-145.

Thesis (M.A.)--University of Massachusetts Amherst, 2009. / Open access. Includes bibliographical references (p. 112-117).

19世紀下半葉，留聲機的發明與唱片產業的崛起，大幅催化了世界各地音樂與文化的交流，隨之而興的流行歌曲也自然成為了無數歷史信息、群體情感與個人記憶的載體；雖或因族群、階級、學派中的各種歧見而初未能得到公正評價，但到多元思想起而與商業邏輯拮抗的1990年代以降，從大眾、文壇到學界，已有愈來愈多人肯認了流行歌曲在文學、音樂與社會等各方面的研究意義與價值，有關華語流行歌曲的研究，亦形成了一個新興的學術領域，本論文即為其中一環。本文緒論首先針對既有論著，提出以「文學、音樂、社會」三面與「知識、技能、情感」三向為之分類，述評其方法成果。其次，採取文學面、技能向的立場，在研究方法上，提出「以作品所預設之目的來評判作品」及「以『合樂』的考量探討辭章、聲韻」的原則，並且說明了華語歌曲所固有的聲韻問題，提出裨益實際創作的研究主張，而不僅將流行歌曲作為某學科議題的資料。正文則以傳統文學「知人閱世」的進路，採詞話形式，在1970-2013年台灣的國語流行歌詞之中，選錄特別流行、創新，或能代表時勢演變之作，介紹其背景、主旨與流傳情形，分析其觀念、技法與影響，以貢獻於當代中文世界「流行詞學」典律的建立，俾讀者從中建起一個大概的演變圖景 = The invention of gramophone records and the rise of music industry in late 19th century have greatly catalyzed the global interaction of cultures, and subsequently contributed to the emergence of pop songs. However, owing to various ethnical, class and academic differences in various cultures, the importance of pop songs as carriers of historical data, collective sentiments and personal memories has not been adequately appreciated. Only in recent years have the musical, sociological, and cultural significance of critical research in pop songs and lyrics gained wider recognition among academics, intelligentsia, and mass consumers.Born in the confluence of political intervention, social stereotypes and commercial interests in the Shanghai International Settlement since 1927, Chinese Pop songs had produced lasting classics and fading stars with ebbs and flows of historical personages and political dynasties. More studies were made amid the antagonism between commercial logic and cultural pluralism during the 1990s. A new academic field was thus brought into being. This dissertation is meant to provide a critical link in this field. The dissertation introduces a framework to analyze Chinese Pop songs in three dimensions: literary, musical, and social, as well as the involved three aspects : knowledge, skills, and emotions. Relevant writings and discourses are categorized, with their methods described and their achievements commented upon. It then considers the aspect of skills within the literary dimension by following the methodology of traditional lyrics studies, and expands beyond its pure academic critique of creative writings to the principles of generating creative writings. This framework is then used as a basis to analyze the evolution of concepts and techniques in the creation of Chinese Pop songs. This dissertation aims at providing researchers and writers a set of flexible methods to comprehend and utilize the creative enterprise from an objective vantage point.

This dissertation examines the place of Catullus' poetry in the iambic tradition and its innovation within that tradition. By the Classical period, the genre iambos had been distilled down to invective content in iambic meters, despite the much greater variety of features found in the canonical Archaic iambographers (particularly Archilochus and Hipponax, 7th-6th C BCE). Catullus, familiar with these poets not only in their own right but also through the lens of Hellenistic authors such as Callimachus, partakes in and expands this tradition in novel ways. Catullus affirms the connection between invective and iambic meters in some of his poems (25, 29, 37, 39, 52, 59, 60). In others, he subverts his readers' expectations, creating mismatches between meter and content. He employs iambic meters without invective content once in iambic trimeters (4) and in half of his choliambic poems (8, 22, 31, 44). Conversely, he uses unaccustomed meters for invective, including hendecasyllables and elegiac couplets. Scholarly efforts to explain the mismatch of meter and content in Catullus' invective-free iambic poems and in his invective poems in other meters have largely been piecemeal; this study represents a more sustained approach to the problem. I argue in Chapter One that the speed of the skiff in poem 4 enables it to outpace obstacles representing iambos' traditionally dominant feature, invective; against generic expectations, Catullus introduces speed as a pointed alternative to abusive content. Chapter Two demonstrates that Catullus employs his non-abusive choliambic poems in the diagnosis of literary-critical and medical problems, tapping into a strain of aesthetic criticism and complaint found in Callimachus' Iamboi and in Hipponax himself. Chapter Three presents Catullus' hendecasyllables as a flexible meter without a strong ethos, allowing Catullus to link it to both the iambic tradition and love poetry. Finally, Chapter Four explores Catullus' use of elegiac epigram as an open form primarily for invective, matching the longstanding but uneasy coupling of hexameter and pentameter to vignettes of unbalanced relationships. With carefully considered mismatches of form and content, Catullus extends iambos beyond tradition.

abstract: This creative thesis is a work of narrative and lyric poetry. Death and Nature are two complex themes that emerge frequently in the poems and work as well across the breadth of the manuscript. The speakers' perspectives vary and are indebted to two sub-genres of poetry, namely--The Poetry of Witness, and Ekphrastic Poetry. Their psycho-analytic underpinnings are at times indisputable, and at other times, purely subjective. Many poems address political and human rights issues in the Middle East, and in the rest of the world. It is here that the poems depend and reveal flexibility with diction and varying structures. Overall, the poems reflect and investigate possible restraints and choices, both internally by the details and images, and externally by multiple experiments with free verse forms. / Dissertation/Thesis / M.F.A. Creative Writing 2012

This thesis explores Pindar's relationship to his audiences. Part One demonstrates how his victory odes take into account an audience present at their premiere performance and also secondary audiences throughout space and time. It argues that getting the most out of the epinicians involves simultaneously assuming the perspectives of both their initial and subsequent audiences. Part Two describes how Pindar uses his audiences' knowledge of other lyric to situate his work both within an immanent poetic history and within a contemporary poetic culture. It sets out Pindar's vision of the literary world past and present and suggests how this framework shapes an audience's experience of his work. Part Three explains how Pindar's victory odes made lucid sense as linear unities to fifth-century Greeks imbued in the traditions of choral lyric. An annotated text shows how each sentence in the epinician corpus forms part of a coherent chain of rational discourse.

Made available in DSpace on 2015-12-10T14:22:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-06-24. Added 1 bitstream(s) on 2015-12-10T14:28:30Z : No. of bitstreams: 1 000851841.pdf: 782450 bytes, checksum: ad355f988e92b369ceb32c2054da312e (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Um dos maiores nomes da poesia portuguesa contemporânea, Nuno Júdice possui vasta obra marcada, segundo Ida Alves (2006), pela presença de uma poesia feita sobre ruínas. Suas características mais marcantes são o diálogo que promove com outras artes, as reflexões filosóficas e principalmente uma visão crítica sobre a própria poesia. Tais características, ligadas a um ambiente sombrio, de espaços desabitados ou abandonados, onde se insere um eu-lírico consciente de sua própria produção poética, são algumas das marcas de uma poesia singular, marcada por vestígios do passado. Júdice iniciou sua produção com A Noção de Poema, em que já se destacava pela retomada do sujeito lírico e pela plena ciência do poema como o lugar de discussão da linguagem poética, seus mistérios e sua tradição. Atrelado a esta produção e crítica poética, o poeta algarvio demonstra grande interesse pelo tema do amor e sua configuração como parte integrante de toda uma tradição lírica amorosa. São muitos os poemas em que o tema do amor aparece, porém sempre relacionado a um sujeito lírico melancólico e consciente da criação do poema e de sua artificialidade. A melancolia do eulírico, as imagens obscuras e a nostalgia são características de uma lírica amorosa cujo principal aspecto é a ausência. O poema parece ser o único lugar onde o sujeito encontra uma possibilidade de fugir do presente e da ausência da amada. Neste trabalho, buscaremos verificar, portanto, como esta poesia se insere numa tradição da lírica amorosa ocidental, procurando evidenciar os artifícios de que o autor se utiliza para retomar o imaginário do amor, questionar e reapresentar a subjetividade e a emotividade, recriando em sua obra um lirismo amoroso típico da contemporaneidade / One of the greatest names of contemporary Portuguese poetry, Nuno Júdice's wide work is marked, according to Ida Alves (2006), by the presence of a poetry built over ruins. His most decisive features are the dialogue established with other forms of art, the philosophical reflections and, above all the others, the critical look over his own poetry. Such features, related to dark environments, uninhabited or abandoned places and the presence of a poetic persona aware of its own poetic production, are some of the main characteristics of a singular poetry marked by references of the past. Júdice began his production with A Noção de Poema. In this work, the retake of the poetic persona and the awareness of the poetry as the ideal place to discuss the poetic language, its mysteries and traditions, are salient. Attached to this poetic criticism and production, the Algarve poet demonstrates his interest in love as a theme of poetry and its configuration as an integrant part of a loving lyrical tradition. Love is present in many of his poems, although it is always related to a melancholic lyrical subject and conscious of the poem creation and its artificiality. The poetic persona melancholy, dark images and nostalgia, are the characteristics of a loving lyric marked by absence. The poem seems to be the only place where the subject finds a possibility to run away from the present and from the absence of his beloved woman. In the present work, we seek to verify how this poetry can be inserted in a loving lyric western tradition highlighting the strategies used by the author to retake the imaginary of love, to question and restate the subjectivity and the emotionality, and to recreate a contemporaneity typical loving lyric in his work

This submitted thesis deals with Hálek´s lyric-epical poems in context of Czech romanticism and byronism. There is a list of evaluation of the lyric-epical poems in the first part. The lyric-epical poems are evaluated by Czech literary history, the study of Hálek and book reviews when they were first published. There are analyses of the lyric-epical poems in the second part of the thesis. The poems are interpreted in order they were published. First three poems are compared to Máj and it is decided whether they are similar to Máj or not. The thesis tries to answer the question, if there is a shift of genre and a change of hero in the rest of the poems.

Lorsque Christoph Willibald Gluck (1714-1787) arrive à Paris à l’automne 1773, onze ans se sont écoulés depuis la création d’Orfeo à Vienne. La rupture avec l’opera seria a été consommée, et le développement des théories de la « réforme » initiées par la collaboration avec Calzabigi s’engage résolument dans la recherche d’un drame européen. Il serait cependant erroné de scinder la carrière du compositeur entre un « avant » et un « après » Orfeo, car l’œuvre de Gluck se définit comme l’épanouissement permanent des premières idées dramatiques appliquées dans ses premiers opéras italiens. Gluck établit sa « réforme » à partir de l’expérience sensible et pratique, questionnant en réalité l’ensemble des genres musicaux européens non pas sur leur légitimité, mais sur ce qu’ils offrent de possibilité d’émancipation. Cette étude s’intéresse aux œuvres françaises dans ce qu’elles développent d’autonomie et d’épanouissement musicaux à partir, étonnamment, du recul pris par rapport à l’indépendance de la musique, et grâce aussi à l’émergence dans l’Europe des Lumières d’une esthétique fondée sur la réunion et la liaison entre les arts. Il s’agit de proposer une contribution à l’étude musicale des dernières partitions certes prises comme autant d’éléments du langage gluckiste, mais également envisagées à partir des suggestions originelles des premières œuvres et, dans la mesure du possible, face aux discussions et polémiques sur la musique et l'opéra de l'époque. Les drames parisiens élucident dès lors le concept de langage universel dont le compositeur se réclame lui-même. / When Christoph Willibald Gluck (1714-1787) arrived in Paris in the fall of 1773, eleven years have passed since the creation of Orfeo in Vienna. The break with the opera seria was consumed, and the development of theories of the « reform » initiated by the collaboration with Calzabigi is firmly committed to the search for a European drama. It would be wrong to split the composer's career between « before » and « after » Orfeo, as Gluck's work is defined as the permanent development of the first dramatic ideas applied in his first Italian opera. Gluck established his « reform » from the sensible and practical experience, questioning actually all musical European genres, not their legitimacy, but they offer the possibility of emancipation. This study focuses on French works in that they develop autonomy and musical development, from, surprisingly, the step back compared to the independence of the music, and thanks to the emergence in the European Enlightenment of an aesthetic based on the meeting and the connection between the arts. It is to propose a contribution to the study of musical scores last course taken as elements of gluckiste language, but also considered suggestions from the original works of the first and, to the extent possible, given the discussions and controversy over the music and opera of the time. Parisian dramas therefore elucidate the concept of universal language which the composer calls himself.

Este trabalho consiste em um estudo métrico e rítmico das Odes Píticas de Píndaro, bem como uma tradução desses mesmos poemas com o objetivo de reproduzir os aspectos métricos e rítmicos identificados durante o estudo. Trata-se, portanto, de uma abordagem que privilegia não o sentido, como se faz de costume no âmbito acadêmico, mas, sim, alguns elementos formais bem específicos (o metro e o ritmo), os quais são caros ao tema central da tese que defendemos: a da unidade rítmica nos epinícios aqui estudados. / This work is comprised of a metrical and rhythmical study of Pindar\'s Pythian Odes, as well as a translation of said poems with a view to reproduce the metrical and rhythmical aspects that were identified during the study. Hence, this approach focuses not on the meaning of the poems, as it is usually done in the academy, but on specific formal elements (meter and rhythm) that are dear to this thesis\' central theme: the rhythmic unity of these victory odes.