Smetana’s Vltava is widely described as a musical depiction of sights and scenes on a journey down the Vltava River that glorifies the river as a defining national landmark. While this understanding of the piece complies with its program and produces a formal and thematic analysis that reveals a general adherence to the conventions of the nineteenth-century symphonic poem, the interpretation only considers the work in isolation and does not account for its most exceptional features. My paper will analyze Vltava in its larger context as a part of the symphonic cycle of Má Vlast to uncover a deeper programmatic significance to the movement’s formal and thematic design, one inextricably bound up with Smetana’s Czech nationalism. The analysis will consider all of the movements of the cycle and their relationships to one another, with particular emphasis on the crucial relationship between Vltava and Z českých luhů a hájů. / text

Inaug.-Diss.--Friedrich-Wilhelms-Universität, Berlin. / Cover title. Vita.

Missing page 58. Thesis (Ph.D.)--Boston University / From the time of its first publication in 1864 interest in Pearl has steadily increased. In the late nineteenth century the poem, primarily because of its difficult dialect, was a scholar's curiosity. Today, thanks to carefully prepared editions, translations and critical studies by English, American, German, French, Italian, Frisian and Japanese scholars, Pearl has rightfully achieved international renown. A clearly discernible shift in critical attitudes accompanied this increase in interest. Early sentimental views of the poem and its author were gradually supplanted by more accurate historical and textual criticism with the result that recent critical opinion is of one mind in its emphasis upon multiple levels of meaning within the poem. This study also employs a combined historical-textual approach as it interprets Pearl by means of the medieval fourfold method. Beginning with a brief sketch of allegory in pre-Christian times, the origin and development of the fourfold system is chronologically defined and this definition, supplemented by textual criticism, supplies the basis for an understanding of the poem as a product of its time. After a review of previous Pearl scholarship the interpretation also demonstrates how the fourfold method provides a frame of reference in which previous divergent interpretations of the poem can be reconciled. [TRUNCATED]

A presente dissertação toma como propósito as obras poéticas de Ricardo Reis e de Paul Celan, acentuando a sua tarefa de originar uma poesia de risco, que experiencia a linguagem e a ameaça. Nesse sentido, a pesquisa desenvolvida reconhece a singularidade da leitura imposta pelos poemas. Tal fato estabelece algumas especificidades da leitura, sem pretender com elas decifrar qualquer conteúdo nos poemas escolhidos. Dessa maneira, esse trabalho recolhe, coleciona e elege premissas de compreensão derivadas de outros ambientes literários. Assim, a hipótese fundamental sustentada ao longo da dissertação expõe o próprio desempenho da leitura como exercício de escrita, sem recorrência a qualquer facilidade contextual, historicista ou formalista; ou melhor: o que é ler Ricardo Reis pós Paul Celan, tomando como elemento básico a própria experiência de risco da leitura / The present dissertation takes as purpose Ricardo Reis and Paul Celans poetic works, emphasizing their task of originating a poetry of risk, which experiences and threatens language. In this sense, the research developed acknowledges the singularity of the reading imposed by the poems. This fact establishes some specificities of reading, which do not intend to decipher any content in the chosen poems. In this way, this work guards, collects and elects premises of comprehension derived from other literary environments. Thus, the fundamental hypothesis sustained throughout the dissertation exposes reading execution itself as exercise of writing, without recurring to any contextual, historicist or formalist easeness; better: what is to read Ricardo Reis after Paul Celan, taking as basic element the risk experience of reading

O presente trabalho propõe uma tradução integral e anotada da obra epigramática do poeta latino Marcos Valério Marcial (c. 40 - c. 105 d.C.). Para tanto, propõe um modelo de compreensão do texto que envolve sua análise desde as camadas pré-textuais, como a constituição do gênero praticado pelo autor ou a obra de seus modelos, passando por um recenseamento dos leitores para chegar finalmente a um modelo sistematizado de tradução poética e de ferramentas de suporte à leitura / This paper proposes a complete and annotated translation of the epigrammatic work of the Latin poet Martial (c. 40 - c. 105 AD). To achieve it, a model of text comprehension is suggested, involving the analysis from the pre-textual layers, such as the constitution of the genre practiced by the author or the poets he uses as models, through a census of the readers to finally get to systematized models for the poetical translation and the reading tools

FAULT LINE examines the fragile humanity connected to the themes of sexuality, violence, addiction, family dynamics, and death. The book is not broken into sections; rather, as poems build upon one another to explore a narrative arc, FAULT LINE tracks a single speaker’s experience from girlhood to the verge of independent womanhood. The speaker employs formal structures such as the prose poem, sestina, and particularly the list poem to examine the fluidity of inner experience and also the culture at large while challenging the narrow definitions of femininity and masculinity. FAULT LINE works to not only address the question of blame but also the literal breaks in lines of poetry. By looking at a single speaker’s struggle, the book, like life, is both humorous and horrifying.

Le totalitarisme nazi, la souffrance, la mort de masse et d’êtres chers constituent des formes d’anéantissement présentes dans les parcours de Vladimir Jankélévitch, Jean Améry, Paul Celan et Jorge Semprun. Rescapés de la Seconde Guerre mondiale, ils ont subi, à des degrés divers, et dans des circonstances différentes, les épreuves de l’exil et des camps. Leurs expériences respectives de la Résistance, de la déportation, de la torture, de la tentation du suicide ouvrent à des écrits et des réflexions majeurs. La mémoire et la voix y sont convoquées afin de s’opposer au totalitarisme et à ses conséquences : la souffrance, le risque de la prescription conduisant à celui de l’oubli, et le caractère irréversible de la torture. Tandis que le bourreau a pour objectif de nier l’humanité de chaque supplicié, le rôle de la voix et de l’écoute sont déterminants. L’opéra Tosca illustre cette tension. La douleur confère à l’instant et à l’ipséité de chaque supplicié une expérience strictement individuelle qui peut néanmoins être décrite : l’invivable n’est pas nécessairement indicible.Voix et mémoire s’inscrivent dans l’inachevé. L’ascension, dans le quasi-silence désespérant des années trente, et le triomphe temporaire du nazisme, que la propagande radiophonique assure pour partie, puis sa défaite complète appellent la transformation dans la durée de l’Allemagne. Concomitamment, les évolutions musicales marquent des formes de refus de la répétition pour échapper à l’aliénation.Le cri possède pour fonction d’alerter. Mais de la mémoire de la Shoah au suicide, l’appel insurmontable de l’anéantissement conduit à revivre une violence que le poème et la musique tentent de surmonter. / Nazi totalitarianism, suffering, mass killing -including loved ones-, are all forms of annihilation that Vladimir Jankélévitch, Jean Améry, Paul Celan and Jorge Semprun went through. World War II survivors, they endured, at varying intensities and through different circumstances, the hardship of exile and of the camps.Their respective experiences of torture, deportation, the Resistance, and their consideration of suicide have brought prominent works and should lead us to major reflections.Remembrance and voice are weapons involved in the fight against totalitarianism and its consequences, of which: suffering, the risk of prescription leading to that of forgetting, and the irreversibility of torture.While the torturer aims to deny even the humanity of its victims, the role of voice and listening are decisive. Tosca Opera gives an accurate representation of this tension. Pain confers to the moment and to the uniqueness of each victim a strictly individual experience, which can nevertheless be described: the unbearable is not unspeakable. Voice and remembrance fall within the ‘unfinished’. Nazism’s ascent —in the practically desperate silence of the thirties—, its temporary triumph —that radio propaganda partly ensures—, and ultimately its complete defeat, call for the profound transformation of Germany overtime. Simultaneously, the contemporaneous cultural developments highlight the rejection of recurrence in music, in an attempt to escape alienation. The purpose of screaming is to alert. But from the Holocaust memory until the very notion of suicide, the devastating call of annihilation amounts to experience once more a violence that poetry and music seek to overcome.

The aim of this essay is to examine the role of poetry in textbooks for the course Swedish 3. This is done by a comparative analysis of three textbooks: Svenska impulser 3, Svenska 3 – helt enkelt and Formativ svenska 3, where the differences and similarities are identified using the questions: Why use poetry? What kind of poetry and what poems are used?  How is poetry supposed to be read? Together with Louise Rosenblatt’s dichotomy efferent and esthetic reading, these questions are then used to analyze the role of poetry in upper secondary school.  The results show that Svenska impulser 3 uses poetry to teach students about its uniqueness and the importance of reading and analyzing poems from your own experiences, a primarily esthetic reading, while also reaching the knowledge requirements of the curriculum. Svenska 3 – helt enkelt and Formativ svenska 3 on the other hand are focused on the author behind the poem, but excludes the importance of poetry and that the reading should originate from the reader rather than the author, a primarily efferent reading.

The way of the Jedovnice creek: connection with the spring Falling into the underground halls and back to the light. The Water Way is an intermedial poem that is concerned to the element of water, character of its way through the landscape and its presence in the landscape. Since the type of work I most prefer is the work in the landscape, I am returning back to the natural landscape, strong places in Moravian karst near Brno. The audiovisual poem is primarily focused on the moment of melting. Sublimation of ice from the ice shelter, ephemeral phenomena on the surface, such as miniature whirls, waves, rays of sunlight and especially moonlight. The poem focuses on the possibilities of transferring the experience with a specific place, and the events in a unique, unrepeatable time and space into the theatrical scene and possibilities of the musical and audiovisual interpretation of such experience. I work with digital media (video mix and audiostop) to transfer the artist's physical experience in a unique time and unique natural setting into the scenic form of the work. Considering the physical and symbolic qualities of the water element, I have abandoned the composition of the event in the classical sense.

... Wie auch beim ersten Buch hat nur eine Auswahl des reichen Schaffens Aufnahme in die vorliegende Sammlung gefunden. Die Auswahl, diesmal von Autor selbst getroffen, fiel schwer, denn jedes Gedicht ist ein Stück gelebtes Leben, ein Stück seiner Sicht auf die Welt. So finden sich in diesem Buch auch einige ältere Gedichte, die den Werdegang der Kinder oder einige denkwürdige Tagungen und Kongresse reflektieren. ... (aus dem Vorwort)