Master of Arts / Department of English / Gregory J. Eiselein / In her collection of poems The War Works Hard (2005), Iraqi-American poet Dunya Mikhail presents her readers with unembellished insight into the Iraqi war from a woman's perspective. This perspective is rarely voiced in Iraqi war literature which is dominated by male writers concerned with men's heroism at the battle front and boundless patriotism. At the same time, these male authors rarely depict Iraqi women's experiences of war beyond the battle grounds. Even when women are present in such literature, they often share their men's point of view on war and voice only their acceptance of it. Mikhail, however, contemplates a counter narrative to this stereotypical female role by presenting women who protest war and the destruction it causes. Her poems portray mothers, lovers, sisters and daughters who protest war's brutality and injustice. Some of the women in Mikhail's poems protest war by directly or indirectly criticizing its institutions and condemning the leaders who promote it. While other women in her work find that their protest lies in their de-fragmentation of the destruction and loss caused by war, thus refusing its power over them and their loved ones. Yet, the most important form of women's protest of war in Mikhail's work is recollection. Through the recollection of their fragmented memories and lives, Mikhail's women manage to survive and find a spark of optimism in the darkness that war has unleashed. Their survival and their ability to re-establish their lives apart from war and the presence of men constitutes a powerful and dramatic protest of war's control over their lives.

This essay applies theories from gender studies and reader response to Elizabeth Acevedo’s The Poet X (2018). The essay discusses diversity in meaning making by investigating differences in creating envisionments. The aim is to unmask the differences in reading to improve and direct teaching practices in EFL classrooms. Moreover, an additional aim is to discuss whether envisionment can be seen as a gendered concept, or if the different readings are equally possible to reach Langer’s five stances. The Poet X centres on a female first-person narrator where the critique towards church, society and normative behaviour is prominent. The potential differences can be seen in understanding the characters in the novel, relating to previous experience and differing understandings of social structures. The pedagogical implementation aims at designing a learning situation where these differing understandings of text can be shared through metacognitive reflection and open-ended methods of pedagogy. The shared understanding of The Poet X in EFL settings can develop the students’ ability to find agency in interpretating texts.

A considerable amount of information can be found about Pavel Z., but it is incomplete, his biographical data is listed only vaguely, usually in the form of short medallions. Most pieces about Pavel Z. are mainly written in connection with the so-called process with "Plastic People" or in connection with his artistic work. Mapping the life of Pavel Z., among other things, not just through his words and the testimonies of his close ones, is a probe into the history of a prominent personality, persecuted during the so-called normalization regime in Czechoslovakia and operating abroad, and a look back to his roots. Last but not least, it also represents an example of specific human thinking, and therefore serves as a mirror embedded in contemporary society.

No description available.

Both Chaucer and the Gawain-poet use the Matters of Troy and Thebes as material for a critique of courtly life, applying these literary matters to the events and actions in and around Ricardian England. They use these classical matters to express concerns about the effectiveness of the court of Richard II. Chaucer uses his earlier works as a testing ground to develop his views about the value of duty over courtly pursuits, ideas discussed more completely in Troilus and Criseyde. The Gawain-poet uses the Matter of Troy coupled with the court of King Arthur to engage in a critique of courtly concerns. The critiques presented by both poets show a tendency toward duty over courtly concerns.

Esta tese pretende analisar e problematizar a poesia de Joaquim Manuel Magalhães (JMM), comparando-a pontualmente com sua produção crítica e tradutória para discutir a temática surgida pelo verso voltar ao real, a esse desencanto. Tal proposta foi publicada pelo poeta em 1981, primeiro como ensaio, depois reformulado como poema, tornando-se preceptiva para a produção do poeta-crítico, bem como basilar para as mais variadas interpretações de seus poemas. A análise de sua obra passa, inicialmente, pelo poema Princípio, súmula poética de Magalhães. Em seguida, analisam-se os poemas publicados antes de 1981 que possam ter preparado a declaração de voltar ao real, para, ato contínuo, analisarem-se os poemas imediatamente posteriores ao ano de 1981, investigando-se traços que apontem para diálogos ou afastamentos, período mais maduro e reconhecido da obra de Magalhães. Por último, trata-se dos desdobramentos mais atuais, notadamente a substituição da obra proposta em 2010, quando há uma ampla mudança de perspectiva, acenando para novos contornos de sua escrita poética, diversos do itinerário poético construído de 1974 até 2010. O interesse dessa tese, portanto, é entender essa movimentação da obra, por meio das irradiações que a ideia de voltar ao real embasa. / This thesis aims to analyze and problematize the poetry of Joaquim Manuel Magalhães (JMM), comparing it punctually with his critical and translational production in order to discuss the topic of the verse \"to return to the real, to this disenchantment\". The poet published this proposal in 1981, first as an essay, later reformulated as a poem, becoming mandatory for the production of the poet-critic, as well as fundamental for the most varied interpretations of his poems. The analysis of his work passes, initially, by the poem \"Principle\", poetic synthesis of Magalhães. Then, we analyze the poems published before 1981 that may have prepared the declaration of \"to return to the real\", in order to analyze the poems immediately after the year 1981, investigating traits that point to dialogues or departures, the more mature and recognized period of Magalhãess work. Lastly, we discuss his most current developments, notably the replacement of the work proposed in 2010, when there is a wide change of perspective, waving to new contours of his poetic writing, different from the poetic itinerary constructed from 1974 to 2010. The interest of this thesis, therefore, is to understand this movement of the work, resorting to the irradiations that the idea of to return of the real bases.

Esta tese pretende analisar e problematizar a poesia de Joaquim Manuel Magalhães (JMM), comparando-a pontualmente com sua produção crítica e tradutória para discutir a temática surgida pelo verso voltar ao real, a esse desencanto. Tal proposta foi publicada pelo poeta em 1981, primeiro como ensaio, depois reformulado como poema, tornando-se preceptiva para a produção do poeta-crítico, bem como basilar para as mais variadas interpretações de seus poemas. A análise de sua obra passa, inicialmente, pelo poema Princípio, súmula poética de Magalhães. Em seguida, analisam-se os poemas publicados antes de 1981 que possam ter preparado a declaração de voltar ao real, para, ato contínuo, analisarem-se os poemas imediatamente posteriores ao ano de 1981, investigando-se traços que apontem para diálogos ou afastamentos, período mais maduro e reconhecido da obra de Magalhães. Por último, trata-se dos desdobramentos mais atuais, notadamente a substituição da obra proposta em 2010, quando há uma ampla mudança de perspectiva, acenando para novos contornos de sua escrita poética, diversos do itinerário poético construído de 1974 até 2010. O interesse dessa tese, portanto, é entender essa movimentação da obra, por meio das irradiações que a ideia de voltar ao real embasa. / This thesis aims to analyze and problematize the poetry of Joaquim Manuel Magalhães (JMM), comparing it punctually with his critical and translational production in order to discuss the topic of the verse \"to return to the real, to this disenchantment\". The poet published this proposal in 1981, first as an essay, later reformulated as a poem, becoming mandatory for the production of the poet-critic, as well as fundamental for the most varied interpretations of his poems. The analysis of his work passes, initially, by the poem \"Principle\", poetic synthesis of Magalhães. Then, we analyze the poems published before 1981 that may have prepared the declaration of \"to return to the real\", in order to analyze the poems immediately after the year 1981, investigating traits that point to dialogues or departures, the more mature and recognized period of Magalhãess work. Lastly, we discuss his most current developments, notably the replacement of the work proposed in 2010, when there is a wide change of perspective, waving to new contours of his poetic writing, different from the poetic itinerary constructed from 1974 to 2010. The interest of this thesis, therefore, is to understand this movement of the work, resorting to the irradiations that the idea of to return of the real bases.

Made available in DSpace on 2016-04-29T13:31:00Z (GMT). No. of bitstreams: 1 Pricila Gunutzmann.pdf: 691193 bytes, checksum: bad622e90a00009a15ac057c8605ba3c (MD5) Previous issue date: 2012-10-22 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This dissertation investigates the metamorphosis of the poet's contemporary identity and the meaning they attribute to their art as well as the perceived political positions in his role. For this, we start from the social psychology, with the main category of identity, seen from the syntagma identity-metamorphosisemancipation, to understand the phenomenon not only in its instrumental aspect, but the whole context in which the contemporary poet is inserted. Through the analysis of the life story of two poets of today, it was possible to understand the processes of transformation and emancipation of human identity in contemporary societies, which occurs in contexts permeated by the dialectic regulation/emancipation. This study examined the poet as a contemporary subject, able to interpolate opening times and disruptions so their reader can fill it in with their own experiences, providing metamorphoses. We went through the construction of the role of the poet in our society and their different historical characters: artist, politician and guardian of metamorphoses, verifying its relations with the present. Thus, this study sought to weave reflections about the different possibilities of emancipation in contemporaneity as well as provide insight to discuss the meanings of metamorphosis and post-conventional identities / Esta dissertação busca investigar as metamorfoses da identidade do poeta contemporâneo e o sentido que estes atribuem a sua arte bem como os posicionamentos políticos percebidos em seu papel. Para isto, partimos da Psicologia Social, tendo como categoria central a identidade, vista a partir do sintagma identidade-metamorfose-emancipação, propondo entender o fenômeno não apenas no seu aspecto instrumental, mas em todo o contexto no qual o poeta contemporâneo está inserido. Por meio da análise da história de vida de dois poetas da atualidade, foi possível compreender os processos de transformação e emancipação da identidade humana nas sociedades contemporâneas, que se dá em contextos permeados pela dialética regulação/emancipação. O estudo em questão analisou o poeta enquanto sujeito contemporâneo, capaz de interpolar tempos e abrir rupturas para que seu leitor as preencha com as próprias vivências, proporcionando metamorfoses. Percorremos a construção do papel do poeta em nossa sociedade e suas diferentes personagens históricas: artista, político e guardião de metamorfoses, verificando suas relações com a atualidade. Deste modo, este trabalho buscou tecer reflexões acerca das diferentes possibilidades de emancipação na contemporaneidade bem como oferecer subsídios para discutir os sentidos da metamorfose e as identidades pós-convencionais

Die Demütigung eines armen Dichters durch einen selbstherrlichen Beamten.

The Author and the Shepherd: The Paratextual Self-Representations of James Hogg (1807-1835) This project establishes a literary-cultural trajectory in the career of Scottish poet and author James Hogg (1770-1835) through the close reading of his self-representational paratextual material. It argues that these paratexts played an integral part in Hogg’s writing career and, as such, should be considered among his most important works. Previous critics have drawn attention to Hogg’s paratextual self-representations; this project, however, singles them out for comprehensive analysis as literary texts in their own right, comparing and contrasting how Hogg’s use of such material differed from other writers of his period, as well as how his use of it changed and developed as his career progressed. Their wider cultural significance is also considered. Hogg not only used paratextual material to position himself strategically in his literary world but also to question, challenge and undermine some of the dominant socio-cultural paradigms and hierarchies of the early-nineteenth century, not least the role and position of ‘peasant poets’ (such as himself) in society. Hogg utilised self-representational paratextual material throughout his literary career. Unlike other major writers of the period Hogg, a self-taught shepherd, had to justify and explain his position in society as ‘an author’ through these pseudo-autobiographical paratexts, which he attached to most of his works (in such forms as memoirs, introductions, dedications, notes and footnotes, and introductory paragraphs to stories). Via these liminal devices he created and propagated his authorial persona of ‘The Ettrick Shepherd’, whose main function was to draw attention to Hogg’s preeminent place in the traditional world, and to his status as a ‘peasant poet’. It was on the basis of this position that he argued for his place in the Scottish literary world of the early-nineteenth century and, ultimately, in literary history. His paratextual self-representations are thus a crucial element in his literary career. Drawing on Gerard Genette’s description of ‘the paratext’, the authorial theories of Roland Barthes and Michel Foucault (along with more recent authorial criticism), as well as autobiographical theory, this project traces Hogg’s changing use of self-representational paratexts throughout his career, from his first major work The Mountain Bard (1807) to his final book of stories Tales of the Wars of Montrose (1835). By reading Hogg’s paratexts closely, this project presents a unique view – from the inside out – of the specific literary world into which Hogg attempted to position himself as an author.