Orientador: Adalberto Luis Vicente / Banca: Andressa Cristina de Oliveira / Banca: Alexandre Bonafim Felizardo / Resumo: Este trabalho propõe o estudo do poema em prosa de dois poetas simbolistas: o brasileiro João da Cruz e Sousa (1861-1898) e o nicaraguense Rubén Darío (1867-1916). A presente dissertação busca compreender os aspectos do poema em prosa dos autores citados, relacionando-os com o período simbolista no Brasil e na Hispano-América, a fim de demonstrar a importância das inovações e das rupturas realizadas pelos autores no campo da poesia por meio do poema em prosa. Para isso, partimos da obra Missal (1893) de Cruz e Sousa, composta por 45 poemas em prosa, que tendem mais para o lado impressionista, já foi alvo de muitas críticas ao longo da História Literária, sendo por vezes considerado um livro de menos importância dentro do quadro geral de obras do poeta brasileiro. Em paralelo a essa obra, analisamos também Poemas en prosa (1948) de Rubén Darío, uma compilação argentina que reúne 25 poemas em prosa do autor nicaraguense esparsos em várias obras ao longo de sua vida. A comparação entre essas poéticas nos permite compreender as produções em prosa de ambos os autores, bem como verificar a importância dessas rupturas para a poesia moderna / Abstract: Ese trabajo propone un estudio del poema en prosa de dos poetas modernistas: el brasileño João da Cruz e Sousa (1861-1898) y el nicaragüense Rubén Darío (1867-1916). Nuestra disertación busca comprender los aspectos del poema en prosa de los autores citados, relacionándolos con el período modernista en Brasil y en Hispanoamérica, con el objetivo de demostrar la importancia de las innovaciones y de las rupturas realizadas por los autores en el campo de la poesía a través del poema en prosa. Para eso, utilizamos la obra Missal (1893) de Cruz e Sousa, compuesta por 45 poemas en prosa que se acercan a la tendencia impresionista y que fue objeto de varias críticas a lo largo de la Historia de la Literatura, siendo muchas veces considerado un libro de menor importancia dentro de la relación de las obras del poeta brasileño. Paralelamente a esa obra, analizamos también Poemas en prosa (1948) de Rubén Darío, una compilación argentina que reúne 25 poemas en prosa del autor nicaragüense, que se encuentran aislados en varias obras a lo largo de su vida. La comparación entre esas poéticas nos permite comprender y valorizar las producciones en prosa de ambos autores, así como percibir la contribución que la poesía modernista dejó para la poesía de vanguardia / Mestre

[There is So Much Blood in Us] is an ambiguously alternate universe in which absolutely nothing is true but almost everything could be. In these poems, tension between the absurd and the possible synthesize into one linguistically and psychologically driving force – discomfort. More than anything, I am writing about discomfort. America’s media representations of women are almost always defined by a singular, and often sexualized experience. Yet, when I talk to the many wonderful / brilliant / badass / etc. women in my life, most of our truly defining experiences are impressively unsexy. Our womanity, if you will, orbits around the gravitational pulls of maternal relationships, vulnerability, and, yes – also periods. Thus, in these poems I place my anatomy into desexualized and uncomfortable moments, in order to emphasize my human corporeality over my sexual corporeality. With [There is So Much Blood in Us], I am challenging societal dehumanization of female bodies, and reminding America that our bodies are occupied.

Symphonic Poem New Life is a composition in one movement for orchestra and yang-chin. The work is divided into six continuous sections. It is written in resultant form which is a cumulative process by which all major musical elements return at the end of the work. The tritone is the prominent interval used throughout the piece. Some graphic notation is also employed. The work has a performance time of approximately 13-15 minutes. The yang-chin is a Chinese string instrument similar to the Hungarian cymbalon, which is played with a pair of small beaters. These instruments have similar ranges, and either instrument can be used in this work.

This paper includes a 62-page book of original poems, 19 pages of which are visual poetry, and a 29-page preface which discusses visual poetry.

The Naturalist is a collection of poems with a critical preface. In this preface, titled "'Death is the mother of beauty': The Contemporary Elegy and the Search for the Dead," I examine contemporary alterations and manifestations of the traditional genre of elegy. I explore the idea that the contemporary mourner is aware of the need to search for meaning despite living in a world without a centrally believed mythology. This search exposes the mourner's need to remain connected to the dead and, by proxy, to grace. I conclude that the contemporary elegy, through metaphorical figuration, personal memory, and traditional symbolism, simultaneously employs and denies the traditional elegiac conventions of apotheosis and resurrection by reconceiving them as methods not of achieving transcendence but of embracing desire with an acceptance of the inability to transcend. The poems of The Naturalist are a collection of elegies that reflect many of the ideas brought forth in the preface.

A collection of poems that explores notions of disability, family, and belief, with a preface that meditates on questions related to the ethical ramifications of various approaches to the making of poetry and art that takes up the suffering of others as subject matter.

A collection of poems.

This is a book of poems.

These poems seek to explore the trauma of breaking up, the falling in and out of complicated relationships, and the toll that takes on the body, physically and in terms of identity or self-understanding. The sentiment isn’t meant to be stated explicitly or outright, but instead insists itself via images, language, and the surreal. Dreams play a big part in this series, as do death and love (and the conflation of the two). By moving in and out of dream-like poems, in addition to playing with language and syntax in others, these poems seek to muddy the real and the not-real in order to represent the muddying of emotions experienced when grappling with relational trauma. These poems aren’t so much concerned with a consistent or clear narrative as they are with revealing their own hunger– and, of course, seeking to alleviate that hunger.

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