O presente trabalho realiza uma abordagem sobre o Narrador em diferentes contextos e sua relação, na atualidade, com a criança, tendo em vista o encantamento que caracteriza e surge de tal vínculo. Neste sentido, partimos de reflexões de W. Benjamim e P. Zumthor, dentre outros autores sobre os assuntos abordados, enriquecidas pela visão nascida da experiência prática com a narração para as crianças e o encantamento com ela relacionado, utilizando, como exemplo para análise, experiências da autora em teatro narrativo para crianças. Abrangemos aspectos diversos da arte do narrador e elementos que compõem sua atuação e destacamos a imprescindibilidade da relação próxima, direta e afetiva para a instauração do encantamento, que torna possível a troca de experiências, e o papel da vocalidade poética como protagonista nesse processo. / This work performs an approach on the Narrator in different contexts and their relationship, nowadays, with the child, considering the enchantment that characterizes and arises from this bond. Accordingly, W. Benjamin and P. Zumthor\'s reflections, as well as other authors, on the issues addressed were taken into account, enriched by the vision gained from the practical experience with storytelling for children and enchantment associated with it, based on the author\'s experiences with narrative theatre for children. Several aspects of the art of the narrator and elements that make up its performance were comprehended, and the indispensability of the close, direct and affective relationship for the development of enchantment was stood out, which makes possible the exchange of experiences and the role of poetic vocality as the protagonist in this process.

Les lecteurs de Victor Hugo s'accordent à penser qu'il est un regardeur. Mais de quel regardeur s'agit-il ? Pour ce poète qui voyage, l'action de voir constitue, plus qu'un goût, un principe esthétique et poétique. Si Hugo s'attache à un beau paysage, c'est en vue d'en faire resurgir ce qui, tout en échappant au regard, prend la forme d'une pensée. Pour le dire autrement, le réel visible est, pour lui, tant régi par la Vérité cachée qu'il ne cesse de mettre en jeu l'existence du sujet. L'évocation d'un paysage est en ce sens la véritable pierre de touche du sujet : le paysage représente, comme inévitablement, le moi qui essaie de participer aux réseaux de l'univers. C'est pourquoi notre étude avait pour objet en particulier les paysages du voyage et de la poésie, afin d'examiner un moi et des moi intertextuels chez Hugo. La relative rareté des études sur le je en voyageur s'explique par une tradition critique qui le considère comme une incarnation immédiate d'un moi unique de l'auteur. Toutefois, on ne saurait trop souligner que, malgré les apparences, le je dans les textes de voyage est protéiforme non moins que le je poétique. Cette thèse dont les réflexions s'articulent autour des regards hugoliens vise ainsi à montrer la complexité du moi de Hugo, et à apporter une lumière nouvelle sur ses poèmes lyriques / Victor Hugo's readers agree that he is a viewer. But what viewer is it? For this poet who travels, the action of seeing constitutes, more than a fondness, an aesthetic and poetic practice. If Hugo attaches to a beautiful landscape, it is in order to bring out the truth escaping the gaze. To put it another way, the visible reality is, for him, so governed by the hidden truth that it emphasise the existence of the subject. The evocation of a landscape is in this sense the true touchstone of the subject: the landscape represents, as inevitably, the ego that tries to participate in the principle of the universe. This is why our study was particularly concerned with landscapes of travel and poetry, in order to examine an ego or egos intertextual in Hugo. The relative rarity of the studies on the traveler is explained by a critical tradition which considers him an simple embodiment of an ego of the author. However, it can not be over-emphasized that, in spite of appearances, the I in the travel texts is protean no less than the poetic I. This thesis whose reflections are articulated around the Hugo's landscapes aims thus to show the complexity of the ego of Hugo, and to bring a new light on his lyrical poems

Tiny House. Tell Me a Secret. is a poetry manuscript that deals with establishing identity based on the relationships one is involved in, the loss of someone significant, and then coping with that loss. In the book, the speaker who grows up in the care of women becomes sensitive to their pains and questions the necessity of the overt ideas of machismo in his culture and deliberately cultivates chivalry in his romantic relationship as a result. The speaker loses his wife early in their marriage and must cope with her death while continuing to re-learn/establish the identity that she played such a large part in shaping. The poems attempt to clarify identity and heighten poetic energy in the poetic forms of free verse and prose poetry. I hope my collection embodies multiple representations of manhood as macho, tender, and everything in between. The collection attempts a complex identification with multiple types of identities. For me, the reality of identities is in their fluidity. The speakers of my poems ultimately find themselves at ease in their roles and in their understanding of others’ roles and lives beyond their own. My speakers do not yearn to just be one identity, however fully. Instead, each man can easily exist in the world as both an adult and still very much the child of his father; the lover of grand romantic gestures and still the loner of deep self-intimacy. While the collection as a whole destabilizes accepted notions of patriarchy, it also, I hope, provides a stable level at which we can understand the speaker of the entire manuscript.

No description available.

No description available.

none

none

While scholars have carefully and rightly noted the profound influence that More’s abolitionist writings had on both the abolition movement and the developing women’s rights movement, they omit what is an essential examination of her poetics, particularly the self-conscious poetic form that she develops in her poem, “Slavery, A Poem” (1788). In conjunction with noting the rhetorical and textual devices that More implements in “Slavery” to illustrate the art of self-conscious poetics, this paper explores these same devices in a later satirical essay of More’s entitled Hints towards forming a Bill for the Abolition of the White Female Slave Trade, in the Cities of London and Westminster (1804), arguing that, by comparing the rhetorical points of overlap in these two pieces, we can identify that More’s contribution to her contemporary literary culture transcended mere female participation and publication. More importantly, through “Slavery” and Hints, More develops a unique rhetoric – a poetics of control – with which to discuss the physical constraints of slavery, the trope of the individual versus the collective, and the essential poetic and rhetorical practice of blending authorial creativity with conventional constraint. / text

C’est un fait certain que la compréhension contemporaine de la rationalité, en Occident, trouve l’une de ses sources dans la tradition grecque antique, et dans la manière dont les Grecs ont élaboré leur propre conception de la rationalité humaine, qu’ils ont exprimée de manière philosophique et conceptuelle, en s’éloignant d’une expression poétique jugée peut-être trop inadéquate à l’exercice de la philosophie. Cette source grecque est, certes, d’une importance capitale pour comprendre la rationalité moderne, mais elle n’en forme pas l’unique source ancienne. La Bible forme aussi une source majeure de notre civilisation, elle a contribué de manière essentielle à la constitution de nos modes de pensée, et de nos attitudes philosophiques, en proposant un modèle anthropologique de l’humain et de l’humanité, si l’on s’accorde à nommer l’anthropologie science de l’être humain, et dans la mesure où cette science ne fait pas abstraction de la dimension verticale des rapports entre l’être humain et le sacré, prenant ici le Visage d’un Dieu unique. Cependant la Bible tente aussi d’interpréter tous les champs de l’activité humaine, de telle sorte que cet agir humain soit pensé philosophiquement dans une langue très conceptuelle, l’hébreu, d’après le texte biblique lui-même, et selon une expression poétique qui semble ne pas être philosophique, mais qui forme cependant un système ouvert d’une pensée qui elle-même est philosophique, malgré l’apparence mythique que revêt au premier regard la Genèse notamment.En réalité, sous cet aspect mythique se donne à entendre une certaine compréhension de la rationalité, à laquelle nous sommes redevables, en fait, de toute une manière de comprendre tant le monde et l’univers, que l’humanité, la psyché, ses modes de raisonnements, et la rationalité qui en découle. Elle offre au lecteur, sous la forme d’une expression poétique, dans le langage, et contenue dans l’histoire des personnages et des figures elles-mêmes, le tableau d’une genèse de la rationalité. / It is certain that the contemporary understanding of rationality in the West have one of its sources in the ancient Greek tradition, and the manner in which the Greeks have thought and built their own design of human rationality, that they expressed in a philosophical and conceptual way, getting away from a poetic expression considered perhaps too inadequate to the philosophy’s exercise. This Greek source is certainly of vital importance to understand the modern rationality, but it is not the single ancient source: Celtic, Latin, Arab, but also Jewish’s sources are no less essential to our understanding of rationality as it unfolds now days, nor even to the construction of the so-called contemporary rationality.The Bible is a major source of our civilization, it has contributed in an essential manner to the constitution of our modes of thoughts and philosophical attitudes, by proposing a model that could be called anthropologic of human’s being and the humanity, if we define anthropology as a science of human being and to the extent, perhaps contradictory, where the science do not the economy of the vertical dimension of the relationship between human beings and the sacred, here taking the face of a single God. However also attempts to think all fields of human activity, so that this act human or philosophically thought in a very conceptual language, Hebrew, from the text biblical itself, and according to a poetic expression which does not seem to be philosophical, but which however is an open system of thought philosophical itself, despite the mythical appearance of the Genesis. In reality, this mythical aspect is to hear some understanding of rationality, to which we are indebted, in fact, a way of understanding both the world and the universe, humanity, the human psyche, its modes of reasoning, and rationality resulting. It offers the reader, in the form of a poetic, in the language, and expression contained in the history of the characters and figures themselves, a genesis of rationality.

Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02