While considering the work of James McAuley, Francis Webb and Vincent Buckley, this thesis concentrates on the religious character of their poetry. Since it assumes that religious language is primarily metaphorical (as distinct from dogmatic), the thesis describes the poetry by way of its religio-imaginative relationships and structures. James McAuley's poetry is religious, not so much because it is Catholic, as because it voyages between despair and hope, believing always in the reasoned will. Francis Webb's poetry, continually discovering glory in dereliction, dramatises the revelatory and redeeming power of the rejected ones - and so works within the 'Suffering Servant' model of 'Isaiah'. While Vincent Buckley's poetry gradually abandons Catholic language in favour of its own 'idiom of sensation', the religious quality of that sensation is discovered more in liminal than in paradisal possibilities - in the way 'holy spaces' are always in some sense expatriate ones. Since each of these poets belongs in the period of Vatican II Catholicism, the thesis next relates their work to that context. Here, however, it searches for imaginative connections and disconnections by setting up its comparison on the basis, not of dogmas, but of models. Finally, the thesis interprets Webb's 'Eyre All Alone' as a search for renewed religious language, returning to its opening assumption that religious language is primarily metaphorical.

In the summer of 2008, over two days, my wife and I hiked the Maligne Range (Skyline) trail, situated in the Canadian Rockies near Jasper, Alberta. The 45-km trail begins in a pine forest at Maligne Lake but soon rises above the tree line. From there it winds its way across two successively higher mountain passes. In between lies a sprawling meadow speckled with colourful flowers and criss-crossed by glacial creeks. At the halfway point, the trail switchbacks steeply to the very top of the range, a vantage point that affords spectacular views in all directions. But a storm set in just as we reached the peak. Unwilling to serve as lightning rods, we broke out into a run, finding shelter only as the trail drops off quickly on the other side of the range. The breathtaking views, ruggedness and diversity of terrain, whistling marmots and sense of isolation all left a strong impression on me. I was especially delighted to realize that the very topographical contour of the trail provides a basic plan for a large-scale sonata-form structure, one that builds up in waves of tension, culminating in a fierce storm at the top: the development. In a similar vein, after the stormy material subsides (as in Beethoven’s Sixth), the descent, recalling the ascent, but now abridged and in reverse order, serves as varied recapitulation. The result is a one-movement symphony in the tradition of Sibelius’s Seventh and Barber’s First. Essentially tonal, the harmonic language is enriched with polytonal accents, modal alterations, complex chords and the colouristic usage of collections and twelve-tone techniques. Polymetre, multi-stranded canons, metric modulation and controlled aleatoric techniques enliven the rhythmic plane. The work’s structure is organic, developed out of limited yet contrasting thematic material, with all programmatic elements assuming abstract structural roles. The symphony’s bright orchestration and rhythmic vitality is indebted to composers of the modern Russian school; its emotional sweep and extremes, to Shostakovich; the scoring and harmonic content of certain dissonant chords, to Varèse; and its sense of drama and breadth, to Beethoven and Sibelius.

In the summer of 2008, over two days, my wife and I hiked the Maligne Range (Skyline) trail, situated in the Canadian Rockies near Jasper, Alberta. The 45-km trail begins in a pine forest at Maligne Lake but soon rises above the tree line. From there it winds its way across two successively higher mountain passes. In between lies a sprawling meadow speckled with colourful flowers and criss-crossed by glacial creeks. At the halfway point, the trail switchbacks steeply to the very top of the range, a vantage point that affords spectacular views in all directions. But a storm set in just as we reached the peak. Unwilling to serve as lightning rods, we broke out into a run, finding shelter only as the trail drops off quickly on the other side of the range. The breathtaking views, ruggedness and diversity of terrain, whistling marmots and sense of isolation all left a strong impression on me. I was especially delighted to realize that the very topographical contour of the trail provides a basic plan for a large-scale sonata-form structure, one that builds up in waves of tension, culminating in a fierce storm at the top: the development. In a similar vein, after the stormy material subsides (as in Beethoven’s Sixth), the descent, recalling the ascent, but now abridged and in reverse order, serves as varied recapitulation. The result is a one-movement symphony in the tradition of Sibelius’s Seventh and Barber’s First. Essentially tonal, the harmonic language is enriched with polytonal accents, modal alterations, complex chords and the colouristic usage of collections and twelve-tone techniques. Polymetre, multi-stranded canons, metric modulation and controlled aleatoric techniques enliven the rhythmic plane. The work’s structure is organic, developed out of limited yet contrasting thematic material, with all programmatic elements assuming abstract structural roles. The symphony’s bright orchestration and rhythmic vitality is indebted to composers of the modern Russian school; its emotional sweep and extremes, to Shostakovich; the scoring and harmonic content of certain dissonant chords, to Varèse; and its sense of drama and breadth, to Beethoven and Sibelius.

Some time ago I came across a tiny collection of poems called Chungu tamu by Theobald Mvungi. The author was born in Mwanga province (Kilimanjaro) probably in the Fifties, as he graduated from the University of Dar es Salaam in 1975 and gained his M.Ed. degree in Nigeria (Ibadan) in 1978. He published his first collection of poems, Raha karaha, in 1982 and his third one, Mashairiya Chekacheka, in 1995. All Mwangi`s poems deal with social problems, but only those of the second collection are formally innovative. Five of the twenty poems of this collection tell a story and I am going to investigate three of them. It is striking and quite unusual in Swahili poetry to present the narration itself as another story. However, it is not the first time that it occurs in modern Swahili poetry. In fact, for instance Kezilahabi´s poem Hadithiya kitoto (from the collection Kichomi, 1974) opens with the scene of the narrator - the grandfather - sitting close to a fire with his grandchildren who want to be told a story, while roasting birds and potatoes. The last two strophes contain grandfather´s comment, i.e. a moral message. Thus the narrative act itself is represented, as it often happens in prose fiction. But whereas in Kezilahabi it only opens or frames the main story, in Mvungi the narrator´s interferences are intermingled with the main story to such an extent that in fact two parallel stories are narrated. I will call them the frame story and the main story.

Magistro darbo „Charles Baudelaire —modernus miesto poetas“ objektas — eilėraščiai proza rinkinyje „Paryžiaus Splinas“(Le Spleen de Paris“). Tikslas — atskleisti Ch. Baudelaire‘o eilėraščių proza žanrinius ypatumus, išryškinti paraleles bei skirtumus su eilėraščių rinkiniu „Blogio gėlės“ („Les Fleurs du Mal“). Žanriniu aspektu eilėraštis proza nėra susilaukęs didelių tyrinėjimų. Apie lietuviškojo eilėraščio proza ištakas bei pirmuosius bandymus rašė V. Daujotytė, V. Kubilius. Apie prancūziškuosius — A. Athys, M. Sandras, P. Labarthe ir kiti. Baudelaire‘as laikomas vienu šio žanro pradininkų prancūzų literatūroje, jo eilėraštį proza tituluoja „miesto kūdikiu“. Šiame darbe į eilėraštį proza žvelgiama semantiniu aspektu, akcentuojama miesto tema kūryboje. Darbą sudaro: įvadas, penkios dalys, kuriose aptariama eilėraščio proza išskirtinumas, erdvės, laiko ypatumai, Paryžiaus Splino kaip neišgydomos ligos, apimančios miestietį, simptomai ir būdai pabėgti nuo jo, nagrinėjama Dievo ir šėtono kova. Baudelaire‘o požiūris į miestą yra prieštaringas. Jis Paryžių suvokia kaip destrukcijos šaltinį, tačiau visada pirmenybę teikia būtent miestui, civilizacijai, o ne gamtai. Eilėraščių proza kalbantysis — kūrėjas, poetas. Jis patas analizuoja jausenas Splino apimtame mieste, ieško būdų kaip pasveikti nuo šios ligos. Baudelaire‘as — prieblandos poetas, kurio eiliuotuose eilėraščiuose naktis lydima mirties ženklų, o eilėraščiuose proza suteikia subjektui atgaivą, išsilaisvinimą nuo nerimo... [toliau žr. visą tekstą] / The object of the master work “Charles Baudelaire – a modern poet of the city” is poems prose in the collection “The Spleen of Paris” („Le Spleen de Paris“). The aim is to reveal genre peculiarities of Ch. Baudelaire‘s poems prose, to expose parallels and differences with the collection of poems “The Flowers of Evil“ („Les Fleurs du Mal“). The poem prose has not been studied widely. V. Daujotyte, V. Kubilius wrote about the sources and the first attempts with a Lithuanian poem prose. A. Athys, M. Sandras, P. Labarthe and others wrote about French ones. Baudelaire is considered as one of the initiators of this genre in French literature. His poem prose is titled “the baby of the city”. The poem prose is seen semantically in this work, emphasizing on the theme of a town in works. The work consists of: the introduction, five parts, where exclusiveness , spaces, peculiarities of the time, symptoms of the Spleen of Paris as an incurable disease covering the town, the ways helping to escape from it, the fight between God and Satan are analysed. The conclusions are drawn at the end of the work. The town is contradictory from Baudelaire’s point of view. He perceives Paris as the source of destruction, however he prefers the town, the civilisation to the nature. The speaker of poems prose is a creator, a poet. He analyses feelings in the city covered by the Spleen and looks for means helping to recover from this disease. Baudelaire is a poet of the twilight. The night is followed by... [to full text]

Pagrindinė darbo problema, inspiravusi temos pasirinkimą - poetės, vertėjos ir dramaturgės Aldonos Elenos Puišytės biografija ir kūryba, kuri nebuvo plačiau aptarta ir analizuota literatūrologų. Analizuojant autorės gyvenimo faktus buvo bandoma nustatyti, kokie asmeniniai ir istoriniai įvykiai turėjo įtakos jos pasaulėjautos formavimuisi ir kaip tai atsispindi poetės kūryboje. Remiantis jos išleistomis poezijos knygomis, esė, interviu su poete ir pasitelkus lietuvių literatūros kritikų straipsnius bei recenzijas, buvo pabandyta atskleisti jos kūrybos savitumą, išskirti bei apžvelgti poezijos žanrus ir dominuojančias temas. Siekiant išsiaiškinti A.E. Puišytės kūrybos savitumą ir išskirtinumą, pasidomėta religinės poezijos samprata lietuvių literatūroje ir nustatyta, jog poetės lyrika turi daug bruožų, leidžiančių ją priskirti prie religinės poezijos kūrėjų. Darbe išanalizuotas autorės santykis su laikmečio situacija ir filosofine mintimi. Siekiant išsiaiškinti poetės vietą lietuvių literatūros kontekste, buvo naudojamasi literatūros kritikų pasisakymais . Šis monografinio pobūdžio darbas, galėtų būti naudingas studijuojant vaikų, religinę poeziją bei lietuvių poemą, o poetės biografijos aspektai įdomūs ne tik literatūrologams, bet ir kitų mokslo sričių specialistams. / The main problem of thesis, which was got one’s inspiration - the biography and oeuvre of a poetess, interpreter and dramatist Aldona Elena Puisyte, which hasn’t been discussed and analyzed enlarge. Analyzing facts of the author’s public life I was trying to settle the personal and historical events which made influence to the author’s world-view and took place in the oeuvre. According to the author’s poetry books, the essay, the interview with the poetess and invoking Lithuanian reviewers’ appreciations I was trying to establish the author’s singularity, to overlook and mark poetry forms and dominant themes. Pursuing to find out the author’s singularity and oneness I attended to conceptions of religious poetry in Lithuanian literature, and established that the author’s lyrics has got lots of religious poetry elements. The author’s relations with the spirit of the age and philosophy have been analyzed in the thesis. Pursuing to discover the author’s place in the context of today’s Lithuanian literature I was using Lithuanian reviewers’ appreciations and outgivings. This monograph thesis could be useful studying an infant and religious poetry, Lithuanian poem and the author’s biography dimensions are compulsive not only for literary experts, but for other too.

The most common approaches to arranged Poetic Collection are the chronological and the bibliographical orders, that is, the ones that privileges a book that normally would be called an anthology: the arrangements of poems following the order of the compositions of the poems (chronological), or the order of previous publications (bibliographical). "El corazón del instante" (The Heart of the Instant, 1998) by the Mexican poet Alberto Blanco (Mexico City, 1951) is a collection of twelve books of poems in one volume. The books in the collection --or the “chapters”, as Alberto Blanco call them in his “Introductory Note” of the book --are presented not in a bibliographical or chronological order, but in accordance to an order that the poet imposed to the book himself. The structural proposal of the book contradicts the definition of any “normal” anthology. In order to approach a book of such nature, we would use and apply the concept of “contextural poetics”, introduced by Neil Fraistat in his book "Poems in Their Place (The Intertextuality and Order of Poetic Collections)", published in 1986. This approach suggest that a PoetryCollection or a simple Book of Poems should be able to be read as one long and single poem. Some of the key concepts of my investigation are already listed in the subtitle of the book: “Intertextuality” and “Order”, and we would like to add “Context”. The concept of “contextural poetics” is explain by Fraistat as the resultant of the context of the book where the poems are reunited, the interaction among poems, and the “contexture” that derives from that interaction. Many critics claim that in every long poem has to exist some kind of narrative, idea that brings other important concepts that we have to approach, like long poem, poetic sequences and poetic series that would complement our study. We believe that the book "Libertad bajo Palabra [1935-1957]" by Octavio Paz, in the critical edition of Enrico Mario Santí, is the implicit model of "El corazón del instante". Our goal is to try to determine what is "El corazón del instante", because in the “Introductory Note” the poets claim that the book is not an anthology, but a “complete cycle of poems”. That is what we would try to find out: what is “a complete cycle of poems”.

[Typescript] / Includes bibliography. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1965

While considering the work of James McAuley, Francis Webb and Vincent Buckley, this thesis concentrates on the religious character of their poetry. Since it assumes that religious language is primarily metaphorical (as distinct from dogmatic), the thesis describes the poetry by way of its religio-imaginative relationships and structures. James McAuley's poetry is religious, not so much because it is Catholic, as because it voyages between despair and hope, believing always in the reasoned will. Francis Webb's poetry, continually discovering glory in dereliction, dramatises the revelatory and redeeming power of the rejected ones - and so works within the 'Suffering Servant' model of 'Isaiah'. While Vincent Buckley's poetry gradually abandons Catholic language in favour of its own 'idiom of sensation', the religious quality of that sensation is discovered more in liminal than in paradisal possibilities - in the way 'holy spaces' are always in some sense expatriate ones. Since each of these poets belongs in the period of Vatican II Catholicism, the thesis next relates their work to that context. Here, however, it searches for imaginative connections and disconnections by setting up its comparison on the basis, not of dogmas, but of models. Finally, the thesis interprets Webb's 'Eyre All Alone' as a search for renewed religious language, returning to its opening assumption that religious language is primarily metaphorical.

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-06-29Bitstream added on 2014-06-13T20:55:32Z : No. of bitstreams: 1 borges_eve_me_assis.pdf: 1006094 bytes, checksum: c7fd524a91e850355c83ef2ba8fde10a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho tem por objetivo verificar a aplicabilidade dos princípios da teoria do efeito de Wolfgang Iser em textos literários com diferentes estruturas composicionais apresentados a diferentes leitores. Como corpus do trabalho utilizamos o texto bíblico “Coríntios”, a canção “Monte Castelo”, de Renato Russo, o soneto “Amor é fogo que arde sem se ver”, de Camões, e o poema concreto “Ferida”, de Augusto de Campos. Além das diferentes estruturas, consideramos a temática do amor e as relações de intertextualidade presentes nos textos. Ao entrevistarmos um grupo de trinta homens e trinta mulheres, procuramos observar o efeito estético na recepção dos textos. Verificamos que houve uma grande preferência pelo texto bíblico e um maior estranhamento em relação ao poema concreto, o que nos fez redefinir o corpus da pesquisa. Utilizamos, desta forma, o poema concreto para analisar os elementos que causaram seu estranhamento pelos leitores. Considerando o texto literário um conector entre o sujeito e a realidade, nosso intuito foi verificar em que medida a percepção dos elementos estéticos aproximou o leitor da função comunicativa do texto ficcional ou nos mostrou o quanto uma leitura escolarizada pode significar uma prática social que, mais do que formar, deforma, transformando leitores reais em simples ledores de textos literários / The aim of this study is to understand the theory of aesthetic response and check its application to literary texts read by different readers. The corpus consists of four texts with different structures: text 1 – THE biblical text “Coríntios”, text 2 - The lyrics of “Monte Castelo”, by Renato Russo, text 3 - the concrete poem “Ferida”, by Augusto de Campos and text 4 - the sonnet “Amor é fogo que arde sem se ver”, by Camões. The selection of texts took into account not only the different text structures but also the love theme and the intertextuality among the texts. We interviewed thirty men and thirty women to check the aesthetic response in the readers' receptions of the texts. The biblical text was the favorite one and the concrete poem was not so appreciated by the readers. These data led us to modify the corpus. So, we focused on the concrete poem in order to analyse elements that triggered the different response from the readers. Considering the communicative role of literary texts, which approach man and reality, we wanted to understand how relevant the esthetic elements are to the communicative role of literary texts as well as to check the relationship between basal reading and social formation, which can form, deform and transform real readers into innocent readers of literary texts