Millay and Dickinson, born more than sixty years apart, were subject to vastly different influences and environments, although their homes were in the same geographic area. Their poetry reflects the difference of their times and their own temperament, but both wrote from a great depth and understanding of feeling and experience about subjects common to all mankind - death, love, anguish, the significance of nature.

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Thesis (M.A.)--Georgia State University, 2009. / Title from title page (Digital Archive@GSU, viewed July 27, 2010) Marti Singer, committee chair; Mary Hocks, Paul Schmidt, committee members. Includes bibliographical references (p. 62-64).

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No description available.

[pt] Os estudos em torno de Edna St. Vincent Millay (1892—1950) apresentam lacunas. Sua obra é atrelada a um romantismo extemporâneo, incompatível com as revoluções formais que fundaram o cânone modernista. Contudo, foi contemporânea de autores que forjaram esse cânone. Uma análise formal de seu trabalho que leve em conta critérios mais consensuais em estudos de forma é imprescindível para refletir sobre isso; mas limitar-se a essa análise seria insuficiente para entender a complexidade de um trabalho como a peça Aria da capo, que parece simples em um primeiro momento, mas que traz em si o âmago dessas lacunas a serem investigadas em torno de Millay. Levando-se em conta alguns conceitos-chave em Estudos da Tradução, que se consolidam a partir da Virada Cultural que combina os Estudos Culturais com os Estudos Feministas, e, ainda, tomando como base a premissa fundamental em Paulo Henriques Britto segundo a qual os aspectos formais de um texto muitas vezes contêm mais poeticidade do que o sentido das palavras, esta pesquisa tem o intuito de apresentar uma tradução anotada dessa peça. Pretende-se, assim, analisar seus desafios tradutórios sem deixar de lado as especificidades relativas à tradução de teatro que, neste caso, alinha-se à tradução de poesia por se tratar de um drama em verso do início do século XX. Ao tangenciar as idiossincrasias do trabalho dessa autora a partir da tradução desta peça, observando sua proposta estética e seus ideais para pensar o lugar que ela ocupa, almeja-se colaborar para difundir sua obra. / [en] Studies on Edna St. Vincent Millay (1892—1950) contain gaps. Her work is yoked to a dated romanticism, incompatible with the formal revolutions that founded the modernist canon. Nevertheless, she was a contemporary of authors who forged this canon. A formal analysis of her work that takes into account more consensual criteria in studies of form is essential to reflect on this; but limiting oneself to this analysis would be insufficient to understand the complexity of a work such as the play Aria da capo, which seems simple at first, but bears within itself the core of these gaps to be investigated around Millay. Taking into account some key concepts in Translation Studies, which have been consolidated since the Cultural Turn that combines Cultural Studies with Feminist Studies, and also based in Paulo Henriques Britto s fundamental premise according to which the formal aspects of a text often contain more poetic character than the meaning of the words, this research aims to present an annotated translation of this play. The aim is to analyze its translational challenges without neglecting the specificities of theater translation, which, in this case, also includes problems of poetry translation, since it is a drama in verse from the early 20th century. By touching on the idiosyncrasies of this author s work through the translation of this play, observing her aesthetic proposal and her ideals in order to reflect on the role she occupies, this study intends to contribute to the dissemination of her work.

This thesis uses archetypal theory as explained by Carol Pearson in The Hero Within: Six Archetypes We Live By to illustrate the heroic journey undertaken by the protagonist in Edna St. Vincent Millay's poem "Renascence." Feminist archetypal theory is a useful lens for gaining the reader access to the underlying paradigms of struggle experienced by the female literary character because it exposes the parallels that exist in separate female experiences. By applying Pearson's theory to Millay's work, readers are able to elucidate more clearly the methods used by the poet to create commonality and continuity with her female audience. Throughout the poem, the protagonist hero recursively circles through the Innocent, Orphan, Martyr, Wanderer, Warrior, and Magician phases. This essay utilizes a close reading strategy to illustrate its argument and provide evidence to its conclusions.

Thesis (Ph. D.)--University of Oregon, 2002. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 292-309).

According to James Mulholland, choral works in which the composer begins by using the text to inspire creativity evolve in three stages. First, the poet carefully chooses words and expressions as a vehicle for thoughts and emotions. The composer, in the second stage, enhances the artistic impact of the poem by setting it to music. In the final stage, conductor and performers give voice to the poet's work and to the composer's musical expression of it in a live performance.Choral conductors serve two art forms, language and music. In this study, I will investigate the compositional process and musical style of James Mulholland in five of his choral works, focusing on the composer's use of scansion (measurement of metrical patterns in each line of poetry), vocalization, imagery, and Leitmotif to express the text. The choral works to be studied include Heart, we will forget him! (Emily Dickinson), Fulfillment (Anonymous), The Wild Honeysuckle (Philip Freneau), What lips my lips have kissed (Edna St. Vincent Millay), and If love should count you worthy (attributed to Sidney Royse Lysaght). These pieces were chosen in consultation with the composer to represent his general style. My desire to survey a variety of poets was an additional consideration.Although the focus of my study lies in the second stage of the evolution of a choral work (the setting of the text by the composer), I suggest rehearsal considerations based upon my research. To provide historical context highlighting the circumstances under which each poem was written, poets' biographies (where applicable) are included. Additionally, a synopsis of each poem will provide a cursory understanding of its meaning. Familiarity with the poem's historical context and basic vocabulary is essential to the performance in order to clearly communicate the emotion of the text to a live audience.

This thesis uses archetypal theory as explained by Carol Pearson in The Hero Within: Six Archetypes We Live By to illustrate the heroic journey undertaken by the protagonist in Edna St. Vincent Millay's poem "Renascence." Feminist archetypal theory is a useful lens for gaining the reader access to the underlying paradigms of struggle experienced by the female literary character because it exposes the parallels that exist in separate female experiences. By applying Pearson's theory to Millay's work, readers are able to elucidate more clearly the methods used by the poet to create commonality and continuity with her female audience. Throughout the poem, the protagonist hero recursively circles through the Innocent, Orphan, Martyr, Wanderer, Warrior, and Magician phases. This essay utilizes a close reading strategy to illustrate its argument and provide evidence to its conclusions.