This thesis argues that François Villon becomes a significant, but overlooked, influence in the tradition of English poetry, and that this influence reveals itself in translations, adaptations, and responses to his work. By focusing on the way in which numerous high profile poets in the United Kingdom and the United States have reacted to Villon, this study will posit that the reasons behind the appeal of his oeuvre as a source text lie both in the protean nature of his narrative voice and in the myth of his life. The inter-lingual intertextual relationships established through translation and the residue of Villon in English poetic tradition will be presented by means of five case studies, all taking the work of a specific poet as their theme: Algernon Charles Swinburne; Dante Gabriel Rossetti; Ezra Pound; Basil Bunting; and Robert Lowell. These five poets are presented as being exemplary of a greater tradition of translating Villon into English, and will take the reader from the first verse translations of his work in the nineteenth century, to postmodern adaptations and parodies of Villon in the twentieth. They will illustrate the specified intertextual relationships that exist both between source text and target text, and the work of one translator and another, thereby demonstrating the accumulation of influences at play in any one translation of this medieval French poet. In so doing, this thesis will also explore translation and adaptation as dialogical and transformative spaces, distinct from other genres in their ability to establish cross-cultural and interlingual intertexts. Translation and adaptation as spaces of cultural and linguistic hybridity will be demonstrated by observing some of the ways in which Villon has left his mark on English verse, and some of the Villons that anglophone poets have created in their turn.

This thesis explores changes in approaches to the interpretation of the genre of classical Chinese poetry re-created as English poetry during the twentieth century. This genre, produced by two literary cultures - Chinese and English - is subjected to critical scrutiny in both its original and re-created forms and this study discusses the extent to which critical theories resulted in shifts in the interpretive approaches of twentieth century translations of the genre. Interpretive changes are exposed by comparative analysis of publications of the genre by Ezra Pound and Arthur Waley, Burton Watson and Gary Snyder, James J. Y. Liu and Stephen Owen and Pauline Yu and Haun Saussy. This involves a discussion of how their formative years, environmental factors and critical pressures influenced their approaches to interpretation of the genre. The study found that changes to interpretative approaches for the genre rested on two key experiences of translators and readers. Primary influences - family, education and personal pursuits - did affect interpreters of the genre but secondary influences - critical theories, literary trends, political, religious and social movements - had greater impact on interpretive change. Isogesis, an unavoidable factor of cultural interpretation, insidiously influenced how the genre was interpreted and that the increased use of montage and anthology late in the twentieth century attempted to reduce the effect of isogesis and, even more importantly, returned the genre to its cultural roots, the Shijing, the earliest Chinese classical anthology of poetry. This study illustrates three areas of importance. Firstly, it shows that biographical and environmental factors affecting translators caused shifts in approach to interpretation of classical Chinese poetry re-created as English poetry. Secondly, choices of what to re-create and print - made by translators, editors and publishers - affect reader response to the genre. Thirdly and finally, it suggests the possibility that the interpretive approaches of these eight translators can be employed as poetic montage in the third millennium to reduce the effect of misinterpreting of the genre. / Thesis (M.A.)--School of Social Sciences, 2006.

This thesis comprises a creative work, the manuscript of a book of poems, Goddess of Mercy, and an exegesis, A Further Existence, which explores the creative, aesthetic, philosophical and other ideas and inputs that went into writing the poems. Goddess is a collection of idylls of the electronic age, narratives, dramas, fictions and meditations. The poems are various in style and subject matter. The exegesis begins with the author's earliest remembered experiences of poetry, considers a wide range of poetries and goes some way to proposing an open poetic that allows a writer versatility in approach to subject matter and writing style. Poems can transcend their time and place to create a 'further existence' where temporality is irrelevant. A diverse range of poems are examined -- from ancient Babylonian to contemporary Australian -- to determine the aspects of a poem that take it beyond daily speech. The usefulness and limitations of theory are considered. The art's mystical dimensions are not easy to analyse but are still worth thinking about: the mysterious spark or talent for poetry, how and where a poem occurs, epiphanies, 'being in the zone' and when all the words come rushing at once. The persistence of poetry is noted: poetry still manifests itself in public life through newspapers, sport, pop music, radio commentary, television, and politics, as well as in everyday living. Poetry adapts to new environments like the internet. Conversely, events in the 'real world' influence poetic thought and writing as evidenced by the barrage of poems and publishing in response to the US invasion of Iraq. Some recent Australian poems are explored with regard to establishing contexts and areas of interest for the practice of poetry in the opening years of the twenty-first century, with a view to establishing the contexts in which the poems in Goddess exist and the world they address. / Thesis (Ph.D.)--School of Humanities, 2005.

Long poems like Ezra Pound's The Cantos, William Carlos Williams's Paterson, and Louis Zukofsky's "A" collect and preserve cultural documents, much in the manner of archives. Long poems of the so-called "Pound tradition" are arrangements of discrete passages, including direct citations from sources such as letters, historical texts, and other often "non-poetic" documents. Acting as an archivist, the poet selects material for preservation. Critics have used various frames, notably the epic, the sequence, and the collection, to interpret twentieth-century long poems. Though similarities to archives have been noted, an archival frame has not been fully developed. This dissertation draws on the disciplinary practices of the archivists as well as critical imaginings of archives to develop a frame for interpreting long poems as archives. After establishing the parameters of the archival frame, the bulk of the dissertation concentrates on Zukofsky's archival tendencies. Zukofsky worked as an archivist for the Work Projects Administration's Index of American Design project, where he developed strategies for using an archive as a communicative form. He crafted and marketed his own literary archive as a means of establishing a literary reputation and as an alternative means of publication. But not only did he develop pragmatic uses of archives, he also applied his understanding of archival principles to the construction of his long poem "A". The difficulties of reading "A" parallel those of working the Zukofsky archive. Readers are overwhelmed with hermetic details, documents of personal and public incidents, and records that we are unable to relate readily to surrounding material. Reading "A" as an archive, we must respond to the documents that are the component parts of the poem, to each document's situated context, and to the relationships among the parts that make up Zukofsky's "poem of a life."

Removed from its artistic origins in the French avant-garde during the interwar period, the European based group known as the situationist international is often represented as being solely occupied with politics to the exclusion of all else, particularly art and aesthetics. In what follows I argue that throughout the sixties the anti-aesthetic position was actually the governing model in France obliging the avant-garde to adjust their strategies accordingly. Artists and artists' collectives that placed politics before aesthetics were the norm, enjoying widespread popularity and recognition from both the public and the French State. These overtly partisan groups and individuals sapped art of the power it had enjoyed in the fifties as a venue removed, or at least distanced from, formal politics. In response, the situationists officially rejected the art world, turning to the popular and vernacular culture of the streets in an attempt to get beyond both classical aesthetic principals and the overt propagandistic objectives of groups such as le Salon de la jeunePeinture. Turning to the climactic moment of 1968 I track the ways in which these debates informed the posters and graffiti which marked the unfinished revolution, sorting out the various aesthetic positions and political persuasions that dominated the events. My thesis contends that the situationists were not anti-aesthetic, that they simply advocated a different kind of aesthetics: one that rejected traditional notions of beauty for the more active and open concept of poiesis or poetry. Beyond words on a page, this notion implied art as a way of life, emphasizing production, creation, formation and action and can be traced back to the groups prewar origins in the Dada and surrealist movements. Moreover, this concept of poetry was not adverse to issues of form being highly dependent on the materiality and physicality of the urban centre, specifically the streets. Finally my conclusion expands upon the similarities between this notion of poetry and the 17th century understanding of beauty, the latter concept being associated with a subtle criticality and strategic wit. It was this interpretation of beauty that defined and produced the art of 1968.

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This thesis comprises a creative work, the manuscript of a book of poems, Goddess of Mercy, and an exegesis, A Further Existence, which explores the creative, aesthetic, philosophical and other ideas and inputs that went into writing the poems. Goddess is a collection of idylls of the electronic age, narratives, dramas, fictions and meditations. The poems are various in style and subject matter. The exegesis begins with the author's earliest remembered experiences of poetry, considers a wide range of poetries and goes some way to proposing an open poetic that allows a writer versatility in approach to subject matter and writing style. Poems can transcend their time and place to create a 'further existence' where temporality is irrelevant. A diverse range of poems are examined -- from ancient Babylonian to contemporary Australian -- to determine the aspects of a poem that take it beyond daily speech. The usefulness and limitations of theory are considered. The art's mystical dimensions are not easy to analyse but are still worth thinking about: the mysterious spark or talent for poetry, how and where a poem occurs, epiphanies, 'being in the zone' and when all the words come rushing at once. The persistence of poetry is noted: poetry still manifests itself in public life through newspapers, sport, pop music, radio commentary, television, and politics, as well as in everyday living. Poetry adapts to new environments like the internet. Conversely, events in the 'real world' influence poetic thought and writing as evidenced by the barrage of poems and publishing in response to the US invasion of Iraq. Some recent Australian poems are explored with regard to establishing contexts and areas of interest for the practice of poetry in the opening years of the twenty-first century, with a view to establishing the contexts in which the poems in Goddess exist and the world they address. / Thesis (Ph.D.)--School of Humanities, 2005.

From Introductory note: The Complete Poems of W.H. Davies (London: Jonathan Cape, 1963; rev. 1968) has been used throughout this study. Accordingly, unless otherwise stated, all citations of poem numbers and pagination refer to this text. Critical literature on the work of W.H. Davies is restricted in quantity and limited in scope. There are few comprehensive assessments of Davies as poet, autobiographer, novelist, or raconteur. Apart from such sources as Richard J. Stonesifer's full-length critical biography (1963), Lawrence Hockey's biographical monograph (1971), and Thomas Moult's anecdotal and historical appreciation (1934), critical material must be drawn from contemporary reviews, isolated articles in magazines such as The Catholic World and Fortnightly Review, and specific chapters in surveys of the poetry of the early twentieth century, although Davies is frequently alluded to passim in literary histories which deal with this period. Many of these studies favour biographical exposition and evaluation rather than descriptive analysis and discursive interpretation. A detailed chronology of Davies's works is included in Stonesifer's discussion. This thesis is not attempting to trace a line of development for two reasons. First, the Complete Poems gives no indication of date of composition or publication of particular poems, and the present writer has access only to the dates of publication of individual volumes as external evidence of a chronology, internal evidence being confined to such infrequent references as "the birds of steel" in Poem no. 236, p. 260. Secondly, the lyrics themselves do not, on the whole, evince much stylistic and thematic development, and the concern of this study is with recurrent themes and techniques dispersed throughout the oeuvre.

This study consists of two volumes. Volume II contains the analysis of fifty-one songs by Gerald Finzi (1901-1956) to poems by Thomas Hardy (1840-1928). The analysis is based on a preconceived model which focuses on a critical examination of the texts and considers the basic elements of music in each song. Certain stylistic features are apparent from this study and are reflected in Volume I. After a biographical sketch of each artist and a discussion of the texts, a sample of the analysis is presented. The basic elements of music are then discussed: timbre, duration, pitch organization, dynamics, texture, structure, mood and atmosphere. Volume I concludes with a general statement on the stylistic features of the composer and considers the artists' genius in the light of the study. Finzi's setting of such a comparatively large number of Hardy poems is a result of the former's intense interest in English literature and sympathy with much of Hardy's personal philosophies such as the uselessness of suffering which fills an indifferent world. Finzi's settings are firmly embedded in tonal traditions but he explores a great variety of subtle atmospheres within the confines of tonality. The declamation of the texts is of superior quality and the composer achieves an individual language of expression unparalleled in the song-writing of the first half of the twentieth century in England / Hierdie studie beslaan twee volumes. Volume II behels die analise van een-en-vyftig liedere van Gerald Finzi ( 1901-1956) na tekste van Thomas Hardy ( 1840-1928). Die analises is gebaseer op 'n vooraf ontwrepte model op grond waarvan die tekste krities geevalueer, en die basiese musikale elemente bestudeer is. Sekere stilistiese tendense wat uit hierdie studie blyk, word in Volume I weergegee. Na 'n kort biografiese skets van beide kunstenaars en 'n bespreking van die tekste, word 'n uittreksel van die analise aangebied. Hiema volg 'n ondersoek na die basiese elemente van musiek: toonkleur, toonduur, toonhoogte, toonstrekte, tekstuur, struktuur en die skep van atmosfeer. Volume I sluit af met 'n samevatting van die stylkenmerke en 'n slotbeskouing van beide kunstenaars se geniale bydrae. Finzi se toonsetting van 'n relatief groot aantal gedigte van Hardy spruit uit sy intense belangstelling in die Engelse letterkunde en sy vereenselwiging met die persoonlike filosofee van Hardy - veral die gedagte van onnodige lyding in 'n apatiese wereld. Finzi toonset hoofsaaklik in 'n tonale styl, maar ondersoek 'n groot verskeidenheid delikate atmosfeerskeppinge binne die tonale raamwerk. Sy deklamering van tekste is van hoogstaande gehalte en die komponis bring 'n pesoonlike uitdrukkingsvorm, ongeewenaar in die liederkuns van die eerste helfte van die twintigste eeu in Engeland, tot stand / D.Mus. (Musicology)

Orientador: Luiz Carlos da Silva Dantas / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-06T10:21:25Z (GMT). No. of bitstreams: 1 Simpson_Pablo_D.pdf: 3276436 bytes, checksum: 7ec16bd178106ff7cbf957e7dd06ad95 (MD5) Previous issue date: 2006 / Resumo: Yves Bonnefoy é um dos poetas franceses mais importantes da segunda metade do século XX. Sua obra poética, que se inicia em 1946 com Traité du pianiste e Le Coeur-espace, pode ser situada, num primeiro momento, a partir do diálogo com o surrealismo, de que se afastaria em 1947, mas cuja noção de sonho retomaria em suas narrativas publicadas a partir dos anos 1970: L¿Arrière-pays e Rue Traversière. Pode ser situada, além disso, diante do existencialismo de Jean Wahl. Leitor de Plotino, Kierkegaard e Léon Chestov, importante crítico de arte e da obra de Baudelaire, além de tradutor de Shakespeare, Yves Bonnefoy traz, desde os ensaios de L¿Improbable de 1959, uma preocupação com o que chamaria de ¿presença¿, fundamental para a compreensão de seu projeto poético. Ela designaria, muitas vezes, uma oposição ao conceito filosófico e à linguagem. Traria um apelo a uma ¿realidade obscura¿, enigmática. Nesse sentido, a poesia pretenderia uma intuição do absoluto, uma esperança investida de uma vocação ontológica não sem relação com o questionamento heideggeriano. Este estudo pretende investigar as relações entre poesia e tempo. Há nos poemas de Anti-Platon e Du Mouvement et de l¿immobilité de Douve, tanto quanto em L¿Improbable, segundo Patrick Née, a condenação de um inteligível abstrato, em virtude do esquecimento do tempo. A poesia repercutiria uma tensão entre interioridade conceitual e exterioridade. As palavras do poema evocariam um apagamento: rastro, presença ausente. A perda se torna a origem da linguagem poética. Através da leitura dos poemas de Du Mouvement et de l¿immobilité de Douve, Hier régnant désert, Pierre écrite, Dans le leurre du seuil, Ce qui fut sans lumière e Les Planches courbes, e das narrativas L¿Arrière-pays, Rue Traversière e Lê Théâtre des enfants, este estudo buscará compreender a poesia de Yves Bonnefoy a partir das noções de rastro, hesitação e memória. Dividido em cinco capítulos principais, trata-se da tentativa de situar a sua poesia, a um só tempo, como expressão e reflexão de cada um desses lugares. Este estudo traz em anexo a tradução do livro de poemas Les Planches courbes (2001), da narrativa ¿L¿Égypte¿ do livro Rue Traversière (1977) e do ensaio ¿Les tombeaux de Ravenne¿ de L¿Improbable (1959) / Resumé: Cette étude concernant l¿oeuvre poétique d¿Yves Bonnefoy cherche à établir des rapports entre poésie et temps. À travers de lectures critiques interrogeant les poèmes de Du Mouvement et de l¿immobilité de Douve, Hier régnant désert, Pierre écrite, Dans le leurre du seuil, Ce qui fut sans lumière et Les Planches courbes, aussi bien que les récits L¿Arrière-pays, Rue Traversière et Le Théâtre des enfants, une trajectoire se dessine qui tente d¿aborder la pensée poétique d¿Yves Bonnefoy d¿après les notions de ¿trace¿, d¿¿hésitation¿ et de ¿mémoire¿. Le poème repose sur la tension qu¿il manifeste entre une intériorité conceptuelle et une extériorité que le poète appellerait ¿présence¿. Les mots du poème sont ce qui demeure de ce qui a disparu, ils gardent la ¿trace¿ de cette présence absente. Il y a dans les poèmes de l¿Anti-Platon et dans l¿essai ¿Les tombeaux de Ravenne¿, sélon Patrick Née, une reproche d¿un intelligible abstrait au nom de l¿oubli du temps. La perte devient l¿origine du langage poétique. Elle nous rappelle l¿abîme de l¿exil, de la séparation. Néanmoins, la poésie d¿Yves Bonnefoy veut apporter une intuition de l¿absolu, un espoir investi d¿une vocation ontologique non sans rapport avec le questionnement ontologique de Heidegger, de Kierkegaard, de Jean Wahl. Plutôt que d¿en brosser le sens philosophique, tout en veillant à ne pas confondre une approche conceptuelle du temps et sa ¿mise en intrigue¿ (muthos), selon Paul Ricoeur, cinq chapitres repèrent cet itinéraire. Les trois premiers, consacrés à la notion de trace, rejoindrent une affirmation du poète dans L¿Improbable: ¿Le fugace, l¿irrémédiablement emporté, sont le degré poétique de l¿univers¿. Il s¿agit de placer cette catégorie de l¿éphémère sous le signe de la recherche proustienne d¿un ¿équivalent spirituel¿ dans le chapitre ¿Marcel Proust & Yves Bonnefoy: inscription, présence¿. Dans le deuxième chapitre, l¿interpretation c¿est qu¿il y a un pari de la mort, de l¿absence, trace d¿un éloignement des dieux, où s¿affirme l¿importance de la perception dans les mots de leur composante sonore. Sous le signe des idées de ¿symbole¿ et ¿allégorie¿, on essaye d¿interroger les lectures d¿Yves Bonnefoy des oeuvres de Baudelaire et les poèmes ¿Vrai corps¿ et ¿Le lieu de la salamandre¿ du livre Du Mouvement et de l¿immobilité de Douve. Le troisième chapitre mène à la définition de la notion de ¿témoignage¿ en accord avec des idées d¿échange, de partage, selon la perspective du texte offert, de l¿amour d¿après Rimbaud et des images de la pierre et de la voix, celle-ci dans le poème ¿À la voix de Kathleen Ferrier¿ de Hier régnant désert. On situe ce questionnement à partir de la lecture d¿Emmanuel Lévinas et de l¿établissement des rapports entre poésie, temps et éthique. Le quatrième chapitre, ¿L¿Arrière-pays, Rue Traversière & Dans le leurre du seuil: rêve, hésitation et labirynthe¿, évoque l¿ambivalence du temps dans ce qu¿Yves Bonnefoy désigne comme ¿une hésitation profonde qui est en nous, dans l¿existence vécue et quant à la façon de la vivre¿. Le poète est celui qui hésite, à la fois, entre deux degrés d¿intensité ontologique, l¿existence et l¿écriture, l¿éveil et le rêve. L¿inquiétude aux carrefours de L¿Arrière-pays est la représentation même de cette interruption de l¿action, hantise d¿une terre au-delà de l¿horizon, insituable. Il s¿agit d¿une dialectique de la indécision et de la décision, de la ¿morne incuriosité¿ de Perceval chez le Roi Pêcheur et des questions qu¿il lui fallait poser. Autrement dit, l¿écriture engage une tension entre la gnose et l¿ici de la finitude, entre le rêve et le récit. Il fallait, selon le poète, ¿quelque chose comme une foi pour persister dans les mots¿. Finalement, le cinquième chapitre est consacré à la notion de ¿mémoire¿ dans les livres Ce qui fut sans lumière et Les Planches courbes, questionnement qui revient au vers ¿je ne me souviens¿ du livre Le Coeur-espace, publié en 1946. Il y a dans la série de poèmes de ¿La maison natale¿ de Les Planches courbes un rétour à l¿enfance et aux mythes. Les images de l¿enfance, dès la publication de ¿L¿Égypte¿ ou à la fin de L¿Arrière-pays, celle de Moïse sauvé des eaux, les mythes de Cérès, de Marsyas, la quête d¿une origine y témoignent la nécessité d¿établir des rapports entre poésie et mémoire. La poésie ¿garde mémoire¿. Elle est ¿la mémoire qui se maintient en nous, qui parlons, des instants de présence que nous avons vécu¿. Quête de l¿origine, de l¿origine de la poésie, d¿où l¿apparition d¿Ulysse dans le poème ¿Dans le leurre des mots¿. On placerait cette tension sous le double signe du ¿fait humain toujours prêt à recommencer¿ de Léon Chestov, à partir de l¿opposition entre mort et réssurrection, et d¿une ¿mémoire appaisée, voire d¿un oubli heureux¿ de Paul Ricoeur. Cette étude a pour annexe la traduction du livre de poèmes d¿Yves Bonnefoy Les Planches courbes (2001), du récit ¿L¿Égypte¿ du livre Rue Traversière (1977) et de l¿essai ¿Les tombeaux de Ravenne¿ publié dans L¿Improbable (1959) / Doutorado / Literatura Geral e Comparada / Doutor em Teoria e História Literária