Neste trabalho, reflito sobre a presença de Baudelaire e de Rimbaud em canções brasileiras. Meu objetivo é discutir a função das alusões a tais poetas partindo da hipótese de que o mito do poeta maldito está presente, de alguma forma, em todas as canções do corpus. Para tanto, selecionei canções lançadas entre 1980 e 2010, período com maior concentração de alusões. As décadas de 1980-1990, especificamente, marcam um período cancional chamado de rock brasileiro, que incorporou elementos da contracultura europeia e estadunidense, momento em que a atualização do mito do poeta maldito foi significativo. Não obstante, outros gêneros cancionais são contemplados neste trabalho, pois também evocam o mito. O corpus foi dividido de acordo com os tipos de alusão, a saber: Baudelaire, Rimbaud, O mito do poeta maldito, e As Flores do Mal, cada qual explorado em um capítulo específico. Há também uma parte destinada à análise de marcas francesas gerais, que mostram a presença francesa de forma mais ampla no cancioneiro do período que aponto aqui. As canções são analisadas conforme suas especificidades, tanto na relação melodia-letra, quanto no âmbito da interpretação do artista, do arranjo, e do contexto histórico - ou na intersecção de todos esses elementos - sempre com a intenção de refletir sobre a alusão em questão e suas possíveis funções. O trabalho também conta com um anexo de letras de canções do corpus e entrevistas com alguns compositores. / In this research, I reflect on the presence of Baudelaire and Rimbaud in Brazilian songs. My aim is to discuss the role of allusions to such poets on the assumption that the myth of the \"accursed poet\" is present in some form in all the songs of the corpus. For that, I selected songs released between 1980 and 2010, a period with higher concentrations of allusions. The decades of 1980-1990, specifically, mark a musical period called \"Brazilian rock\", which incorporated elements of the European and American counterculture, at which time the update of the myth of the curse was significant. Despite this, other musical genres are dealt with, once they also evoke the myth. The corpus is divided according to the types of reference, namely: \"Baudelaire\", \"Rimbaud\", \"The myth of the curse,\" \"The Flowers of Evil\", each explored in a specific chapter. There is also a section devoted to the analysis of general French marks that show the French presence more widely in the songbook of the period I point here. The songs are analyzed according to their specific characteristics, both in melody-letter relationship, as in the interpretation of the artist, the arrangement, and the historical context - or at the intersection of all these elements - always with the intention of reflecting on the reference in question and their possible functions. The work also has an attachment corpus of song lyrics and interviews with some composers.

Esta dissertação estuda a obra de Jorge de Sena a partir do cotejo de sua poesia e de sua crítica. O corpus de leitura é composto pelos Quatro sonetos a Afrodite Anadiómena, presentes no livro Metamorfoses, bem como dos ensaios constantes nos livros Dialéticas Teóricas da Literatura e Dialéticas Aplicadas da Literatura. Dessa comparação, busca-se entender a função poético-crítica na obra de Jorge de Sena e suas variadas implicações com a modernidade literária. / The dissertation studies the works of Jorge de Sena from the comparison of his poetry and his critical. The reading corpus is composed by Quatro sonetos a Afrodite Anadiómena, present in the book Metamorfoses, and by the essays contained in the books Dialéticas Teóricas da Literatura e Dialéticas Aplicadas da Literatura. From this comparison, searches to understand the poetic-critical function of Jorge de Sena works and its varied implications with the modernity literary.

Dans les trois ouvrages étudiés Estrella Distante (1996), La pista de hielo (1993) et Amberes (2002) nous révélons la présence, parfois patente, parfois latente, du mythe de la malédiction. Notre étude rend compte d’une lecture à la lumière du mythe littéraire moderne de l’écrivain maudit. L’évolution de l’œuvre de Bolaño, montre que depuis le début le mythe de la malédiction lutte pour prendre une place centrale dans son œuvre.Un seul motif reste constant, inamovible, dans les trois romans en particulier et dans l’œuvre entière en général : l’héroïsme. Nous voyons dans cette valeur inaltérable du mythe de l’écrivain maudit chez Bolaño, le cœur de son éthique littéraire. L’héroïsme du poète maudit n’est pas associé à l’idée romantique d’une mission personnelle fondamentale mais plutôt à la valeur d’incorruptibilité. Les deux mythèmes PURETE-DETRESSE suscitent les deux motifs mythiques INGENUITE-MARGINALITE. Ceux deux motifs, filtrés par le temps et l’écriture conduisent à l’HEROISME et à l’INCORRUPTIBILITE, valeur qui définit le poète maudit dans l’ensemble de l’œuvre.La réécriture de ce mythe n’est pas sans conséquences dans l’univers de la réception. Bolaño se crée dans ses textes une image de lui-même qui prospère ensuite dans l’inconscient collectif ; son image devient l’archétype de l’écrivain latino-américain contemporain. La nouveauté de l’œuvre de Bolaño est d’avoir su placer la figure du poète maudit au cœur de son univers littéraire. Comme il est courant dans la reprise d’un mythe par un écrivain, Bolaño vise par sa réécriture un modèle à vocation universelle, sans que pour autant sa vie soit l’original ou la copie de ce modèle. L’image archétypale de l’homme Roberto Bolaño repose sur un univers symbolique de représentations qui ont un lien intime avec la malédiction.Bolaño insiste sur une autre forme de malheur, la rébellion, la révolte du maudit. Elle a été l’une des premières abordée dans la réception de son œuvre, et traduite comme une tendance antisystème. Bolaño est donc perçu comme un provocateur net, chose qui est absolument vraie. Cependant, c’est à travers la figure du maudit que la révolte littéraire s’effectue vraiment. En s’attaquant aux institutions littéraires, le poète renonce à l’appui institutionnel et déclare conquérir son indépendance à l’égard des pouvoirs littéraires. Pour chercher à être indépendant des pouvoirs littéraires il faut nécessairement en être d’abord dépendant ! Si le poète-type de Bolaño n’écrit presque pas, ou du moins pas comme il devrait le faire en tant qu’écrivain, de quelle sorte d’indépendance littéraire est-il question ? Cela pose un problème de fond celui de la vie comme œuvre (ce fut le cas pour le dandysme), et comme œuvre littéraire. Si la vie peut devenir littérature et si l’existence peut se changer en œuvre d’art, c’est à cette transformation que le poète bolanien se donne corps et âme. Faire de sa vie un objet littéraire est donc la tâche curieuse et très originale que s’impose le poète maudit chez Bolaño.En réécrivant le mythe du poète maudit, Bolaño a ouvert la voix à une nouvelle manière de voir la littérature et d’en faire. Ce mythe, bien connu en Europe depuis Villon jusqu’à Houellebecq, a été ravivé dans l’œuvre de Bolaño, en même temps qu’il a été introduit dans l’imaginaire de la littérature hispano-américaine, pour devenir aujourd’hui un symbole à double effet : consommation de masse d’une icône ou chemin offert au public vers le sens caché de l’expression. / Within the three books studied Estrella Distante (1996), La pista de hielo (1993) et Amberes (2002) we show the underlying- evident presence, of the literary malediction myth. We read Bolaño’s works lightened by the literary modern myth of the damned poet. The evolution of Bolaño’s work reflects, since the beginning the central space this modern myth takes into his imaginary. One of the unchangeable topics in the three novels studied is heroism. This inalterable value of his damned characters represents the central part Bolaño’s literary ethics. The damned poet heroism in this case is not associated to the romantic idea of a personal fundamental mission to be accomplished but rather to the moral value of incorruptibility. We can find two mythic topics PURITY-DISTRESS that produce the mythic patterns INGENUITY-MARGINALITY. The presence of this two patterns lead towards the two moral-ethic values that define Bolaño’s damned poet: HEROISM and INCORRUPTIBILITY.The process of rewriting this myth brings consequences in the reception’s world. Bolaño invents through his literature an image of himself which lives in the collective subconscious. This image is nothing different than archetype of what should be the contemporary Latin-American writer. As it is current in the process or rewriting of a myth, Bolaño aims a figure to universal vocation (archetype), but not with the purpose of making of his personal life the original and of his damned poet the copy. For the community of readers, the archetypal image of the man (Roberto Bolaño) rest upon a symbolic universe of representations directly connected with literary malediction.Bolaño insists on another way of curse; the rebellion of the damned poet. This feature has been translated in the context of the reception as an anti-system tendency. Bolaño is perceived as an agitator. Nevertheless, this feature of the writer comes from the literary rebellion of his characters. The damned poet of his work attacks the literary institutions renounces to the institutional support and declares the conquest of his independence in front of the literary powers.In order to become independent of the literary institutions, the poet must be necessarily dependent of them. As we know the character of the poet in Bolaño’s work do not really write or rather barely writes. So we ask what kind of literary independence is sought by the poet? This question introduce the idea of life a piece of art, (dandyism) and more exactly in this case; life as a literary piece of art. If life can become literature and existence can be transformed in a piece of art, Bolaño’s damned poet does not seek any more than fulfill this possibility of mutation. Make of his life a literary (ethic, moral and esthetic) object is the curious and original task the damned poet force himself on.Throughout the rewriting of the damned poet myth, Bolaño lights the way to an original way of perceiving but above all an original way of making literature. The myth of the damned poet, well know from Villon to Houellebecq, has been brighten up in Bolaño’s work and reintroduce in the Hispano-American literary imaginary. This version of the myth has become today a symbol that can be read in two ways: consummation product of an image or opened possibility of a secret meaning.

Após mais de duzentos anos, o interesse pela obra de Karl Philipp Moritz (15 de setembro de 1756 26 de junho de 1793) só tem aumentado. Diferentes autores como Herman Hesse e Walter Benjamin, e, mais recentemente, Hans Joachin Schrimpf, Tzvetan Todorov, Peter Szondi, Arno Schmidt e Peter Handke têm escrito ressaltando a importância e a fecundidade desse autor. Moritz pode ser considerado um dos autores inaugurais do romantismo alemão. Este mestrado em filosofia, área de estética, pretende, por meio de seleção, tradução e introdução dos textos de Karl Philipp Moritz, contribuir para a valorização dessa importante obra em nossa cultura. Os textos selecionados são de teoria da linguagem, estética e filosofia. / After over two hundred years, the concern for the works of Karl Philipp Moritz (September 15th 1756 June 26th 1793) has increased steadily. Different authors such as Herman Hesse and Walter Benjamin and more recently Hans Joachin Schrimpf, Tzvetan Todorov, Peter Szondi, Arno Schmidt and Peter Handke have written on the relevance and fecundity of this author. Moritz can be said to be one of the inaugural authors of German Romanticism. This Masters in Philosophy, in the Aesthetics field, intends, by means of selection, translation and introduction of Karl Philipp Moritz texts, to contribute to the appreciation of this important work in our culture. The selected texts belong to the fields of Language Theory, Aesthetics and Philosophy.

The author of nine volumes of poetry and numerous other writings, the editor of several literary journals, the recipient of copious awards, including the James Still Award from the Fellowship of Southern Writers, and a longtime teacher and mentor, East Tennessee native Jeff Daniel Marion has come to be known as one of the most significant and beloved voices in Appalachian literature over the past four decades. The twenty-one pieces in this illuminating collection range from examinations of Marion’s poetry to considerations of his teaching career and influence on students, writers, and artists throughout the region and beyond. Acclaimed poet, novelist, and historian Robert Morgan writes about how Marion affected his development as a writer and the key role Marion has played in bringing Appalachian literature into its own. Scholar Randall Wilhelm’s essay, meanwhile, expands our appreciation for Marion not only as a poet but as a visual artist, tracing the connection between his photography and poetic imagery. Also included are essays by John Lang on the ways in which Marion’s poetry “gives voice to a spiritual vision of nature’s sacramental identity,” Gina Herring on how the poet’s father has served as his muse, and George Ella Lyon on the power of story in Marion’s picture book for children, Hello, Crow. Other features include an autobiographical essay by Marion himself, an interview conducted by co-editor Jesse Graves, and a bibliography and timeline that summarize Marion’s life and career. In the book’s introduction, Ernest Lee notes that in the poem “Boundaries,” from his first published collection, the young Marion “dedicated himself to his place, to the land and his heritage . . . welcoming whatever may come with a firm faith that ultimately his life as a poetic laborer will bring him to a true, sharp vision.” The eloquent contributions to this volume reveal just how fully that dedication has paid off. / https://dc.etsu.edu/etsu_books/1020/thumbnail.jpg

Book Summary: The Encyclopedia of Romantic Literature is an authoritative three-volume reference work that covers British artistic, literary, and intellectual movements between 1780 and 1830, within the context of European, transatlantic and colonial historical and cultural interaction. Comprises over 275 entries ranging from 1,000 to 6,500 words arranged in A-Z format across three fully cross-referenced volumes Written by an international cast of leading and emerging scholars Entries explore genre development in prose, poetry, and drama of the Romantic period, key authors and their works, and key themes Also available online as part of the Wiley-Blackwell Encyclopedia of Literature, providing 24/7 access and powerful searching, browsing and cross-referencing capabilities

ABSTRACT The local bhakti tradition prevalent and popular in the state of Mahārāṣṭra in India worships Rukmiṇī-Kṛṣṇa (Ru-K) as the divine couple. The divine couple Rādhā-Kṛṣṇa as the object of devotion of the greater Vaiṣṇava bhakti tradition has been the focus of several academic studies. Almost all scholarly publications and literature relating to the religious tradition of Kṛṣṇa tend to focus on Rādhā-Kṛṣṇa as the divine couple. In contrast, very little is published on Rukmiṇī-Kṛṣṇa as a divine couple. My doctoral research examines the almost 700-year old Rukmiṇī-Kṛṣṇa bhakti tradition that is still very much alive today and that continues to thrive in the state of Mahārāṣṭra in India. The research has focused on centrality of Goddess Rukmiṇī in the tradition and its doctrine as revealed from the Marāṭhī devotional literature written by its poet-sants. I also study the devotional practices and profile of contemporary Ru-K tradition followers to establish how their understanding of the doctrine influences and shapes their personal practices. In particular, I explore the hypothesis that the Rukmiṇī-Kṛṣṇa bhakti tradition is a distinctive, syncretistic, and living devotional tradition that integrates Vaiṣṇava and Śaiva elements in its Marathi poet-sant literature as well as in its religious practice amongst its followers. Thus, in both theory and practice, the tradition caters to the needs and dispositions of followers from various social classes. My research methodology mainly comprised textual analysis Marāṭhī devotional literature written by the four major poet-sants of the Ru-K bhakti tradition. The research also involved a small component of field trip to study the contemporary followers and practices of the tradition. Research revealed that the followers of Rukmiṇi-Kṛṣṇa bhakti tradition look upon Rukmiṇī as pure devotee of Kṛṣṇa. The analysis of the hagiographies and local legends reveal Rukmiṇī’s role as a mediator and facilitator of meetings of Kṛṣṇa with those who love him and are devoted to him. Acting as a mediator between Kṛṣṇa and his common devotees, she brought him out of his royal pastimes of Dvārakā to Paṇḍharapura, albeit on the pretext of getting upset with him. Following Kṛṣṇa’s appearance in Paṇḍharapura, it has become the centre and springboard of Rukmiṇī-Kṛṣṇa bhakti tradition. The Paṇḍharapura pastimes of Kṛṣṇa primarily involve personal loving exchanges between Kṛṣṇa (as Viṭṭhala) and his devotees from all walks of life. In these pastimes, Rukmiṇī plays the compassionate mediator between Kṛṣṇa and his devotees, facilitating their meetings and exchanges. Therefore, Rukmiṇī is also looked upon by devotees as a kind and considerate mother. Analysis of the sant literature of the tradition revealed the dichotomous doctrinal stance of Advaitic (non dualistic) nirguṇa bhakti towards an impersonal Supreme taken by Jñāneśvara and Ekanātha, and that of Vaiṣṇava (dualistic) saguṇa bhakti towards a personalised form of Supreme, taken by Nāmadeva and Tukārāma, co-existing under the umbrella of Rukmiṇī-Kṛṣṇa bhakti tradition. The reason for such a harmonious co-existence of mutually incompatible doctrines and flourishing of the tradition despite the incongruity is owing to the two common practices, singing the glories of Kṛṣṇa and worshipping of personal form of Kṛṣṇa, both of which are considered to be of significance by both doctrines, albeit for different reasons and to achieve dissimilar objectives. Both practices have been instrumental in bringing together the followers and devotees with contrasting and incompatible doctrinal leanings. The case study of the contemporary devotees revealed a dichotomy, in the form of two different classes of devotees found within the tradition, one consisting of the non-elite rank and file devotees from rural and semi-urban regions displaying saguṇa bhakti practices and understanding, and the other consisting of devotees from the elite class taking an Advaitic nirguṇa stance. These classes continue to be maintained because the preachers, although Advaitic in their personal stance, tend to preach saguṇa bhakti to the masses, considering them to be insufficiently qualified for the advanced stage of Advaita. Consequently, the dichotomy perpetuates itself and is apparently harmonized through this bivalence on the part of preachers and common devotees. The unique aspect involving the fusion of Śaivism and Vaiṣṇavism that one finds in the form of Hari-hara-aikya-bhava, sets the Rukmiṇī-Kṛṣṇa bhakti tradition distinctly apart from the greater Vaiṣṇava tradition, where such a fusion is not just absent, but rather clearly and consciously avoided.

Questa tesi propone una lettura cumulativa della raccolta Responsibilities: Poems and a Play di William Butler Yeats, pubblicata per la prima volta nel 1914 e successivamente inclusa in un’opera di più ampio respiro nel 1916. Questa raccolta si colloca cronotopicamente in un contesto pubblico nel quale le dinamiche sociali irlandesi, tra la fine dell’Ottocento e gli anni venti del Novecento, erano al centro di forze indipendentiste ed in un contesto privato nel quale emerge il prolungato interesse, da parte del poeta, per la costituzione di un’etica pubblica come base per la creazione dell’indipendenza irlandese. Essa diviene, pertanto, una presa di coscienza da parte dell’autore del proprio ruolo di guida, non più solo poetica ma anche sociale, che avrebbe potuto accelerare il processo di riscoperta dell’identità irlandese come requisito fondamentale per l’indipendenza. / This thesis deals with the analysis of the collection Responsibilities: Poems and a Play by William Butler Yeats, published for the first time in 1914 and lately included in a wider collection in 1916. Responsibilities was conceived in a public context where the social dynamics in Ireland were subjected to contrasting forces, and in a private context in which the poet conceived the idea that only the constitution of a public ethic could have paved the way to the creation of an independent Irish state. For this reason, this collection can be considered as the beginning of a process of awareness by W. B. Yeats of his role, not only as a poet, in a social process that could have accelerated the rediscovery of the Irish cultural identity as an essential requirement for independence.

The aim of the master’s of literature diploma paper “The Other in Marina Tsvetayeva prose” by a holder of master’ degree Irina Sharanova the essay “My Pushkin” is analyzed,in which M.Tsvetayeva’s conscious and unconscious perception of A.Pushkin as a person and a poet is disclosed with reference to pecularities of a child’s and a mature person’s perception. A.Pushkin is considered by M.Tsvetayeva as “Hers” and “The other” and also as unusual and not a canonical icon. In “The story of Sonechka” the problem of ‘The Other” is contemplated as approaching the miracle of The Other’s event, what helps M.Tsvetayeva to have a sensation of self-respect and value herself in this wopld.

ABSTRACT The local bhakti tradition prevalent and popular in the state of Mahārāṣṭra in India worships Rukmiṇī-Kṛṣṇa (Ru-K) as the divine couple. The divine couple Rādhā-Kṛṣṇa as the object of devotion of the greater Vaiṣṇava bhakti tradition has been the focus of several academic studies. Almost all scholarly publications and literature relating to the religious tradition of Kṛṣṇa tend to focus on Rādhā-Kṛṣṇa as the divine couple. In contrast, very little is published on Rukmiṇī-Kṛṣṇa as a divine couple. My doctoral research examines the almost 700-year old Rukmiṇī-Kṛṣṇa bhakti tradition that is still very much alive today and that continues to thrive in the state of Mahārāṣṭra in India. The research has focused on centrality of Goddess Rukmiṇī in the tradition and its doctrine as revealed from the Marāṭhī devotional literature written by its poet-sants. I also study the devotional practices and profile of contemporary Ru-K tradition followers to establish how their understanding of the doctrine influences and shapes their personal practices. In particular, I explore the hypothesis that the Rukmiṇī-Kṛṣṇa bhakti tradition is a distinctive, syncretistic, and living devotional tradition that integrates Vaiṣṇava and Śaiva elements in its Marathi poet-sant literature as well as in its religious practice amongst its followers. Thus, in both theory and practice, the tradition caters to the needs and dispositions of followers from various social classes. My research methodology mainly comprised textual analysis Marāṭhī devotional literature written by the four major poet-sants of the Ru-K bhakti tradition. The research also involved a small component of field trip to study the contemporary followers and practices of the tradition. Research revealed that the followers of Rukmiṇi-Kṛṣṇa bhakti tradition look upon Rukmiṇī as pure devotee of Kṛṣṇa. The analysis of the hagiographies and local legends reveal Rukmiṇī’s role as a mediator and facilitator of meetings of Kṛṣṇa with those who love him and are devoted to him. Acting as a mediator between Kṛṣṇa and his common devotees, she brought him out of his royal pastimes of Dvārakā to Paṇḍharapura, albeit on the pretext of getting upset with him. Following Kṛṣṇa’s appearance in Paṇḍharapura, it has become the centre and springboard of Rukmiṇī-Kṛṣṇa bhakti tradition. The Paṇḍharapura pastimes of Kṛṣṇa primarily involve personal loving exchanges between Kṛṣṇa (as Viṭṭhala) and his devotees from all walks of life. In these pastimes, Rukmiṇī plays the compassionate mediator between Kṛṣṇa and his devotees, facilitating their meetings and exchanges. Therefore, Rukmiṇī is also looked upon by devotees as a kind and considerate mother. Analysis of the sant literature of the tradition revealed the dichotomous doctrinal stance of Advaitic (non dualistic) nirguṇa bhakti towards an impersonal Supreme taken by Jñāneśvara and Ekanātha, and that of Vaiṣṇava (dualistic) saguṇa bhakti towards a personalised form of Supreme, taken by Nāmadeva and Tukārāma, co-existing under the umbrella of Rukmiṇī-Kṛṣṇa bhakti tradition. The reason for such a harmonious co-existence of mutually incompatible doctrines and flourishing of the tradition despite the incongruity is owing to the two common practices, singing the glories of Kṛṣṇa and worshipping of personal form of Kṛṣṇa, both of which are considered to be of significance by both doctrines, albeit for different reasons and to achieve dissimilar objectives. Both practices have been instrumental in bringing together the followers and devotees with contrasting and incompatible doctrinal leanings. The case study of the contemporary devotees revealed a dichotomy, in the form of two different classes of devotees found within the tradition, one consisting of the non-elite rank and file devotees from rural and semi-urban regions displaying saguṇa bhakti practices and understanding, and the other consisting of devotees from the elite class taking an Advaitic nirguṇa stance. These classes continue to be maintained because the preachers, although Advaitic in their personal stance, tend to preach saguṇa bhakti to the masses, considering them to be insufficiently qualified for the advanced stage of Advaita. Consequently, the dichotomy perpetuates itself and is apparently harmonized through this bivalence on the part of preachers and common devotees. The unique aspect involving the fusion of Śaivism and Vaiṣṇavism that one finds in the form of Hari-hara-aikya-bhava, sets the Rukmiṇī-Kṛṣṇa bhakti tradition distinctly apart from the greater Vaiṣṇava tradition, where such a fusion is not just absent, but rather clearly and consciously avoided.