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This dissertation explores verbal and visual representations of the abject body in Federico García Lorca’s Poeta en Nueva York (published 1940), Viaje a la luna (1929), El público (1930-1931), and his drawings from 1929-1930. Grounded in queer theory, transgender studies, and Blackness studies, I explore how Lorca’s images of somatic abjection challenge hegemonic ideas of gender, sexuality, and race in the depiction of queer and otherwise marginalized identities. The dissertation focuses on abjection in three major poems from Poeta en Nueva York, beginning with “Oda a Walt Whitman.” In Chapter 1, I identify an Apollonian-Dionysian dichotomy between the figure of Whitman and the urban maricas, and explore how the abject effeminacy of the latter, and their excessively feminine performances, challenge the heterosexual reproductive order. Chapter 2 examines the abject fluids of vomit and blood in “Paisaje de la multitud que vomita” and “El Rey de Harlem.” I analyze the correlation between the mujer gorda’s physical size and her abject, Dionysian “vomiting multitude.” The second part of the chapter reads “El Rey de Harlem” in the light of Frantz Fanon’s racial phenomenology in order to explore Lorca’s representations of Blackness and masculinity. I argue that the primitivist motifs of blood, music, and nature associated here with erotic representations of the Black masculine body create an ambivalent poem that is at once empowering and exoticizing. Chapter 3 analyzes the uncompleted film scenario Viaje a la luna, which I contend portrays queer anxieties about gender and sexuality through the “nervous gestures” and exposed body of the protagonist. Discussion of the scenario leads to discussion of abjection in the drawing Muerte de Santa Rodegunda. I argue that in Lorca’s drawings of mutilated and plant-like bodies, we see a transformative vision of what a body can be, one that pushes at the boundaries of the human. Finally, in Chapter 4, I argue for a genderqueer reading of the transgressive play El público. Performance theory, queer theory of sadomasochism and anality, transgender theory, and explorations of X-ray technology in the twentieth century help me dissect what has been called Lorca’s “impossible play.”

本論文以「寒山詩及其版本之研究」為題，約十二萬字，共分六章完成。 第一章緒論。敘述本文寫作動機、目的、研究方法，以及主客觀的限制。 第二章寒山子之時代與家世。共分二節。寒山子身世如謎，人言人殊，故第一節乃蒐 集前人的考證，而於第二節參照各家說法，略加辨證，以明寒山子的時代，以及家世 。 第三章寒山詩之版本。此章為全文重點一。按海內外所知見的寒山詩版本，說明其版 本形式，並考述其源流。 第四章寒山子之思想。共分三節。寒山子亦儒亦道亦佛，本章引用寒山詩以證明寒山 子發端於儒，出入於道，而終極於佛禪。 第五章寒山詩之內容與形式。共分二節。此章亦為全文之重點。第一節係寒山詩內容 之研究，依其表現而分為俗情詩、傷感詩、諷刺詩、閒適詩、玄悟詩五大類。第二節 係寒山詩形式之研究，選就語言、聲律、修辭技巧等特色加以賞析。 第六章結論。旨在陳述歷代及近人對寒山詩的評價，以及寒山詩的影響，並印證「實 用理論」為寒山詩的文學觀。

Diverses œuvres de poésie moderne et contemporaine mettent en scène le rapport à l’écriture d’un sujet lyrique. Une telle problématique trouve une incarnation particulièrement intéressante dans l’œuvre de Patrice Desbiens, notamment dans certains de ses textes des années 1990 et 2000, où elle apparaît avec plus d’acuité. Pourtant, sa pratique auto-réflexive a fait l’objet de très peu de recherches. Afin d’éclairer le rapport qu’entretient Patrice Desbiens avec l’écriture et avec la poésie, ce mémoire s’intéresse à deux de ses textes, soit La fissure de la fiction (1997) et Désâmé, (2005) en accordant davantage d’espace au premier, que je considère comme un texte-charnière dans la production poétique de Desbiens. Dans un premier temps, mon travail présente ainsi la précarité qui caractérise le protagoniste de La fissure de la fiction et, sous un autre angle, le sujet lyrique de Désâmé. Dans cette optique, la figure du poète est étudiée dans La fissure de la fiction à la lumière de la reprise ironique du mythe de la malédiction littéraire et du sens que la réactualisation de ce mythe confère au personnage dans ce récit poétique. Dans un second temps, ce mémoire s’attache à montrer que la cohérence et la vraisemblance des univers mis en scène dans La fissure de la fiction et Désâmé sont minées. C’est à l’aune de ces analyses que peut ensuite être envisagé le rôle d’une poésie qui, en dernière instance, comporte malgré tout un caractère consolateur, en dépit ou en raison de l’esthétique du grotesque, tantôt comique, tantôt tragique, dans laquelle elle s’inscrit et que nous tâcherons de mettre en lumière. / Diverse pieces of modern and contemporary poetry offer representations of a lyrical subject’s attitude towards the act of writing. Studying such an issue in the works of Patrice Desbiens offers a distinctively interesting perspective, especially in the case of some of his publications from the 1990s and the 2000s wherein such representations appear quite clearly. Yet the treatment of the act of writing in his work has received very little research attention. The aim of this Master’s thesis is to shed further light on how Patrice Desbiens’s works deal with representations of writing and poetry. The thesis focusses on two of his published works, La fissure de la fiction (1997) and Désâmé, (2005), with greater emphasis placed on the former, as it is in my own perspective a key piece in his poetic legacy. To begin, my work puts forth the concept that the protagonists in La fissure de la fiction and Désâmé are both characterized by precariousness, but in different ways. In La fissure de la fiction, the character of the poet is understood from the perspective of an ironic revival of the literary curse myth. The meaning this myth confers to the main character of this poetical story is also discussed. Secondly, the thesis argues that the coherence and the plausibility of the universes of La fissure de la fiction and Desâmé are undermined. In light of these analyses, one can envision the role of a poetry which, ultimately and despite everything, bears a consolatory character. It does so in spite of, or perhaps precisely because of, its grotesque aesthetic, sometimes comic, sometimes tragic, in which it is written.

A dissertação focaliza Mário de Andrade leitor dos parnasianos brasileiros a partir de sua marginália nos autores e obras com os quais ele dialoga, em sua biblioteca particular, na segunda metade do decênio de 1910 e antes de 1921, quando o Jornal do Comércio estampa a série de sete artigos, Mestres do passado, em que ele se posiciona como modernista. Aos doze títulos vinculados à abordagem dos poetas parnasianos Francisca Júlia, Raimundo Corrêa, Alberto de Oliveira, Olavo Bilac e Vicente de Carvalho, nos artigos referidos, circunscreve-se a exploração das anotações autógrafas que preservam instâncias do processo criativo do crítico e de Mário de Andrade poeta em formação, na primeira parte deste mestrado. A recuperação integral dessa marginália, mediante transcrição e classificação acompanhada de notas da pesquisa esclarecendo determinados aspectos e traçando correlações com obras do escritor, compõe a segunda parte da dissertação, parte que constitui também um rigoroso instrumento de trabalho para os estudos sobre o escritor e sobre o parnasianismo no Brasil. / The dissertation focuses on Mario de Andrade reader of brazilian parnassians from his margin notes in the authors and works with whom he dialogues, in his private library in the second half of the decennary of 1910 and before 1921, when the Jornal do Comércio stamp a series of seven articles, \"Mestres do passado\", in wich he stands as modernist. To the twelve titles linked to the approach of the parnassian poets Francisca Julia, Raimundo Corrêa, Alberto de Oliveira, Olavo Bilac and Vicente de Carvalho, in the articles referred, is limited to exploitation of handwritten notes that preserve instances of the creative process and critical of Mário de Andrade poet in training, in the first part of this masters degree. The full recovery of his margin notes, by transcription and classification accompanied by notes explaining certain aspects of the research and plotting correlations with works of the writer composes the second part of the dissertation, which is also part of a rigorous working tool for studies on the writer and on the parnassianism in Brazil.

A dissertação focaliza Mário de Andrade leitor dos parnasianos brasileiros a partir de sua marginália nos autores e obras com os quais ele dialoga, em sua biblioteca particular, na segunda metade do decênio de 1910 e antes de 1921, quando o Jornal do Comércio estampa a série de sete artigos, Mestres do passado, em que ele se posiciona como modernista. Aos doze títulos vinculados à abordagem dos poetas parnasianos Francisca Júlia, Raimundo Corrêa, Alberto de Oliveira, Olavo Bilac e Vicente de Carvalho, nos artigos referidos, circunscreve-se a exploração das anotações autógrafas que preservam instâncias do processo criativo do crítico e de Mário de Andrade poeta em formação, na primeira parte deste mestrado. A recuperação integral dessa marginália, mediante transcrição e classificação acompanhada de notas da pesquisa esclarecendo determinados aspectos e traçando correlações com obras do escritor, compõe a segunda parte da dissertação, parte que constitui também um rigoroso instrumento de trabalho para os estudos sobre o escritor e sobre o parnasianismo no Brasil. / The dissertation focuses on Mario de Andrade reader of brazilian parnassians from his margin notes in the authors and works with whom he dialogues, in his private library in the second half of the decennary of 1910 and before 1921, when the Jornal do Comércio stamp a series of seven articles, \"Mestres do passado\", in wich he stands as modernist. To the twelve titles linked to the approach of the parnassian poets Francisca Julia, Raimundo Corrêa, Alberto de Oliveira, Olavo Bilac and Vicente de Carvalho, in the articles referred, is limited to exploitation of handwritten notes that preserve instances of the creative process and critical of Mário de Andrade poet in training, in the first part of this masters degree. The full recovery of his margin notes, by transcription and classification accompanied by notes explaining certain aspects of the research and plotting correlations with works of the writer composes the second part of the dissertation, which is also part of a rigorous working tool for studies on the writer and on the parnassianism in Brazil.

Book Summary: Poetry Criticism assembles critical responses to the writings of the world's most renowned poets and provides supplementary biographical context and bibliographic material to guide the reader to a greater understanding of the genre and its creators. Each entry includes a set of previously published reviews, essays and other critical responses from sources that include scholarly books and journals, literary magazines, interviews, letters and diaries, carefully selected to create a representative history and cross-section of critical responses. Although poets and poetry are also covered in other titles from the Gale Literature Criticism series, Poetry Criticism offers a greater focus on understanding poetry than is possible in the broader, survey-oriented entries in those series. Clear, accessible introductory essays followed by carefully selected critical responses allow end-users to engage with a variety of scholarly views and conversations about poets and their works. Student's writing papers or class presentations, instructors preparing their syllabi, or anyone seeking a deeper understanding of the genre will find this a highly useful resource.

Jak wynika z prowadzonych przeze mnie badań, Teodor Bujnicki jest poetą mało znanym, nieco zapomnianym, co jest niesłuszne, gdyż pod wieloma względami jest reprezentatywny dla dwudziestolecia międzywojennego. W swojej pracy już wspominałam, że twórczość poetycka Teodora Bujnickiego rozwijała się i ewoluowała stopniowo. Można znaleźć w jego poezji elementy powtarzające się także u innych twórców, jednak poeta potrafił je ułożyć we wzór właściwy tylko dla niego. Pierwszy rozdział przybliża postać samego poety, omawiam życiorys T. Bujnickiego. W rozdziale drugim była poddana analizie poezja Bujnickiego o zabarwieniu regionalnym. Zostały ukazane cechy regionalne tej poezji, takie jak: apoteoza litewskiego krajobrazu, ukazanie swoich związków z rodzimym regionem. Na treść trzeciego rozdziału złożyły się rozważania o poezji przepełnionej katastrofizmem. Poeta tworzył w czasie tzw. apokalipsy, temat swych utworów uzależniał od bieżących politycznych i życiowych uwarunkowań. Można jednak śmiało powiedzieć, że część poezji Bujnickiego jest głosem pokolenia tragicznego, na które oddziałała wojna. Wydarzenie to wywarło bardzo duży wpływ na twórczość, na tematykę wierszy, ale również na poglądy oraz moralne ukształtowanie. Utwory zawarte w rozdziale trzecim są świadectwem pokoleniowego katastrofizmu, pesymizmu, przekonania o nieuchronnym zbliżaniu się śmierci i końcu przedwojennego porządku. Ta część twórczości Bujnickiego wyraża więc wątek apokalipsy dokonanej, spełnionej. W czwartym... [toliau žr. visą tekstą] / Magistrinis darbas Teodoro Bujnickio poezija, susideda iš keturių dalių: 1. Teodoro Bujnickio biografija. 2. Regionaliniai motyvai Teodoro Bujnickio poezijoje. 3. Katastrofiniai motyvai Teodoro Bujnickio poezijoje. 4. Kitokie svarbus motyvai Teodoro Bujnickio poezijoje. Pagrindinis magistrinio darbo tikslas yra supažindinti su Teodoro Bujnickio gyvenimu ir jo kūryba. Darbo pagrindiniai uždaviniai: • Rasti kuo daugiau informacijos apie Teodoro Bujnickio gyvenimą ir kūrybą. • Apibrėžti esminės poetikos savybes. Darbą sudaro Teodoro Bujnickio gyvenimo aprašymas bei pasirinktų kūrinių analizė ir interpretacija. Darbe yra panaudoti du metodai: aprašymo ir interpretavimo. T. Bujnickio kūrybos nagrinėjimas patvirtino, kad jo poezijoje svarbią vietą užima ne tik katastrofiniai, ypatingai pabrėžti kritikoje iki šiol, motyvai, bet ir regionaliniai. Buvo poetui artima ir autotematine srovė, gvildeno ir meilės, džiaugsmo, gyvenimo prasmės temos. Neatsižadėjo ir politinių, visuomeninių problemų aprašymo. Bujnickio poetika semia iš tradicinių ir avangardinių lobių. Ypatingai žavi kūryboje romantinė literaturos srovė. Poeto lyrikoje yra ilgesys, subtilumas ir ekstazė. Bujnickio poezija semia kartais iš Adomo Mickevičiaus kūrybos tradicijos. Galima padaryti išvadą, kad Teodoras Bujnickis yra vertas mūsų dėmesio, jo kūryba gali inspiruoti ir naujas poetų kartas. / Thesis Poetry of Teodoras Bujnickis contains four parts: 1. Biography of Teodoras Bujnickis. 2. Regional motives in Teodoras Bujnickis’s poetry. 3. Catastrophic motives in Teodoras Bujnickis’s poetry. 4. Other important motives in Teodoras Bujnickis’s poetry. Main objective of the thesis is get to know Teodoras Bujnickis’s life and his works. Main tasks of the work: • To find as more as possible information about Teodoras Bujnickis’s life and his works. • To determinate essential characteristics of his poetics. The work contains of Teodoras Bujnickis’s life description and analysis and analysis and interpretation of his selected works. Two methods are used in this work: description and interpretation. The analysis of T. Bujnickis’s works has confirmed that not only catastrophic motives, strongly empathized in critics up till now, take important place in his poetry, regional motives also do. The authotematic stream was intimate to the poet; he discussed the subjects of love, joy and the purpose of life. He did not forsake describing political and social problems. Bujnickis’s poetics reaches from traditional and vanguard treasures. Romantic stream in his literature fascinates the most. In lyrics of the poet, there is longing, subtlety and ecstasy. Bujnickis’s poetry sometimes reaches from the tradition of Adomas Mickevičius works. The conclusion can be made that Teodoras Bujnickis is worth our attention and his works may also inspire new generations of poets.

Nous comptons au total vingt-deux « comédiens-poètes », dont deux sont des femmes, entre le dernier tiers du XVIe siècle jusqu’à la fondation de la Comédie-Française en 1680, soit une période de cent ans environ. Afin de comprendre la naissance puis la montée en puissance de cette pratique d’écriture propre aux comédiens, nous commençons à étudier les conditions de création des pièces de Châteauvieux et Hardy au début du siècle. Dans la première partie, nous étudions l’apparition de cette pratique chez les comédiens parisiens dans les années 1640 à travers Desfontaines et Montfleury. Dans la deuxième partie, nous mettons en lumière l’importance du rôle des commandes et des institutions lors de l’émergence des comédiens-poètes itinérants dans les années 1650 et 1662, à travers des recherches archiviques qui nous révèlent les rapports entre Des Carreaux, Dorimond et Rochefort, comédiens-poètes contemporains de Molière, et les commanditaires de fêtes en province. Dans la troisième partie, toujours selon la même méthode, nous suivons principalement l’activité de Dorimond, Rosidor et Rochefort, dans les années 1660. Nous examinons la concurrence qui se joue entre eux à La Haye et à Bruxelles concernant la création de leurs propres pièces et la reprise de pièces d'auteurs, en particulier celles à machines. Dans l’épilogue, nous mettons en lumière la singularité des habitudes de composition chez les comédiens-poètes, qui sont tout à fait différentes de celle des auteurs, à travers l’analyse des ouvrages de Villiers, Madeleine Béjart, La Thorillière, tous comédiens-poètes occasionnels, et nous perçons à jour le secret de la rapidité de composition des comédiens-poètes en général. / We count in total twenty-two actors-authors, including two women, from the last third part of the XVIth century until the creation of la Comédie-Française in 1680, so upon a hundred years period of time. To understand the birth and then the rising of this actors’ very writting way, we start to study in the prologue Chateauvieux and Hardy’s plays’ first productions’ conditions at the beginning of the century. In the first part, we study the emergence of this practice among parisian actors around 1640 through Desfontaines and Montfleury. In the second part, we light up the important role of plays made to order as well as the institutions while strolling actors-authors emerging in 1650 and 1662. To that purpose we use archivic methods revealing us relationships between Des Carreaux, Dorimond and Rochefort, three contemporaneous actors-authors of Molière, and also provincial parties’ sponsors. In the third part, still with archives’help, we mainly follow Dorimond, Rosidor and Rochefort’s activities around 1660. We study the competition between them in La Haye and Bruxelles regarding their own plays’s first productions as well as authors’plays revival, especially plays with stage effects. In the epilogue, we light up the specificity of the actors-authors writting way, quite different from the authors’way, through the analysis of Villiers, Madeleine Béjart, La Thorillière’s works, all chance actors-authors, and we find out the writting swiftness of actors-authors generally speaking.