A presente tese discute a efemeridade como aspecto constitutivo e motivador na obra de Cesário Verde, e como a apreensão da fugacidade, é um gesto de amor e de vontade de preservação dele. Utilizando a estética pareysoniana, as leituras a partir de tal hermenêutica querem revelar como a formatividade da obra mostra tal mundividência. / This thesis discusses ephemerality as a constitutive and motivating aspect in Cesário Verde\'s work, and as the apprehension of fugacity, it is a gesture of love and a desire to preserve it. Using Pareysonian aesthetics, the readings from such hermeneutics want to reveal how the formativity of the work shows such a worldview.

A presente tese discute a efemeridade como aspecto constitutivo e motivador na obra de Cesário Verde, e como a apreensão da fugacidade, é um gesto de amor e de vontade de preservação dele. Utilizando a estética pareysoniana, as leituras a partir de tal hermenêutica querem revelar como a formatividade da obra mostra tal mundividência. / This thesis discusses ephemerality as a constitutive and motivating aspect in Cesário Verde\'s work, and as the apprehension of fugacity, it is a gesture of love and a desire to preserve it. Using Pareysonian aesthetics, the readings from such hermeneutics want to reveal how the formativity of the work shows such a worldview.

Magistro darbe analizuojamas motinos įvaizdis XIX a. lietuvių poezijoje. Tiriamieji šaltiniai yra XIX a. lietuvių poezijos tekstai. Iš didelio šaltinių kiekio, daugiau nei 500 tekstų, buvo išrinkti tie kūriniai, kuriuose poetai mini motiną. Teorinėje darbo dalyje pateiktos teorinės prielaidos, kurios padėjo apibrėžti pagrindinę šiame darbe vartojamą sąvoką – įvaizdis. Viena jų yra mito kritika, kuri suteikė platesnį kontekstą, padėjo apibrėžti darbe vartojamas sąvokas, tokias kaip archetipas, simbolis, jas sieti su aptiktu motinos įvaizdžiu. Kitas svarbus teorinės darbo dalies poskyris – kultūrologinė apžvalga, paremta V. Kavolio įžvalgomis apie motiną, jos reikšmę lietuvių kultūroje ir santykį su kitais šeimos nariais. Pagrindinė tyrimo dalis paremta trimis motinos įvaizdžio modeliais: daukantiškuoju, valančiškuoju ir maironiškuoju. Visi šie modeliai atspindi pagrindines vertybines poezijos dominantes: tradiciškumą, religines ir moralines vertybes, modernios tautos formavimąsi. Pastebėta, kad motinos įvaizdžio griežtai suskirstyti pagal amžiaus ribas negalima. XIX a. poezijoje išskirti motinos modeliai vienas su kitu persipina ir yra glaudžiai susiję. Galima teigti, kad amžiaus pradžioje dominuoja tiesioginės motinos įvaizdžio prasmės, kai ji susijusi su šeimos gyvenimu, yra vaizduojama namų aplinkoje, šalia vaiko, daugiau siejama su folkloro tradicija. Tačiau ima ryškėti ir kiek kitoks motinos įvaizdžio matmuo, kai jis atsiduria krikščioniškajame kontekste, yra siejamas su... [toliau žr. visą tekstą] / The image of mother in the Lithuanian poetry of the 19th century was analyzed in Master’s thesis. Sources for the research were texts of Lithuanian poetry of the 19th century. From the large amount of the sources (more than 500 texts) the writings, in which poets mention mother, were selected. The theoretical assumptions, which helped to define the basic notion of this work - the image, were presented in the theoretical part. One of them was the criticism of myth, which gave a broader context, helped to define terms used in the work, such as an archetype, a symbol, also to associate them with the detected image of mother. Another important section of the theoretical part of the work was a culturological review, based on the insights of V. Kavolis about mother, her meaning in Lithuanian culture, and her relationship with other members of a family. The main part of the study was based on three models of the image of mother: daukantastic, valanciustic, and maironistic. All of these models reflected the basic valuable dominants of poetry: traditionality, religious and moral values, the formation of a modern nation. It was noted, that according to the age limits it was impossible to divide the image of mother strictly. The distinguished models of mother in poetry of the 19th century interlaced with each other and were closely linked. It can be proposed, that at the beginning of the age the direct meanings of mother’s image dominate when she is related to a family life, is... [to full text]

Diploma work presents the Poetics of Emily Dickinson and Walt Whitman as a big influence on traditional American Literary development. Their work brought a new view of traditional Poetry in 19th century, which affected the whole status of traditional American culture. Their styles of writing had an effective impact on American Literature and shaped the new image of Poetry. One of the purposes of this diploma work is to introduce historical and literary-philosophical background of the period of 19. century, which influenced their lives and work as well. Then the diploma work demonstrates the Poetry of Walt Whitman and Emily Dickinson and compares their work afterwards according to the chosen topics appearing in their poems. To summarise the whole diploma work there is the analyse of the similarities and differences in the poetry of both poets.

A tese investiga possíveis funções históricas da formulação e do uso de categorias poéticas relacionadas à música na poesia modernista hispano-americana, a partir da leitura e análise de poemas selecionados principalmente de Rubén Darío (1867-1916) e Julio Herrera y Reissig (1875-1910) e de textos críticos, teóricos, programáticos e narrativos que participam da primeira recepção histórica do modernismo. Divide-se em cinco capítulos que organizam os resultados de cinco frentes de investigação: aspectos da relação entre os poetas modernistas e a arte musical; papel da musicalidade na modernização do idioma poético castelhano; técnicas rítmicas e harmônicas e funções do efeito musical em diversos poemas modernistas; relação entre a música do modernismo e a ascensão oitocentista da música à condição de meta e metáfora da poesia; particularidades do aporte à música na poesia de Herrera y Reissig. / This PhD dissertation investigates the possible historical functions of the formulation and use of poetical categories related to music in the Hispanic-American Modernist poetry, beginning with the reading and analyses of selected poems mainly those of Rubén Darío (1867-1916) and Julio Herrera y Reissig (1875-1910) and of critical, theoretical, programmatic and narrative texts that participate in the first historical reception of Modernism. The dissertation is divided into five chapters that organize the results of five domains of investigation: specific aspects of the relation between the Modernist poets and musical art; the role of musicality in the modernization of the Spanish poetic idiom; rhythmical and harmonic techniques and functions of the musical effects in diverse Modernist poems; the relation between the music of Modernism and the rise of music, in the 19th century, to the condition both of goal and metaphor for poetry; the particularities of the recourse to music in the poetry of Herrera y Reissig.

A tese investiga possíveis funções históricas da formulação e do uso de categorias poéticas relacionadas à música na poesia modernista hispano-americana, a partir da leitura e análise de poemas selecionados principalmente de Rubén Darío (1867-1916) e Julio Herrera y Reissig (1875-1910) e de textos críticos, teóricos, programáticos e narrativos que participam da primeira recepção histórica do modernismo. Divide-se em cinco capítulos que organizam os resultados de cinco frentes de investigação: aspectos da relação entre os poetas modernistas e a arte musical; papel da musicalidade na modernização do idioma poético castelhano; técnicas rítmicas e harmônicas e funções do efeito musical em diversos poemas modernistas; relação entre a música do modernismo e a ascensão oitocentista da música à condição de meta e metáfora da poesia; particularidades do aporte à música na poesia de Herrera y Reissig. / This PhD dissertation investigates the possible historical functions of the formulation and use of poetical categories related to music in the Hispanic-American Modernist poetry, beginning with the reading and analyses of selected poems mainly those of Rubén Darío (1867-1916) and Julio Herrera y Reissig (1875-1910) and of critical, theoretical, programmatic and narrative texts that participate in the first historical reception of Modernism. The dissertation is divided into five chapters that organize the results of five domains of investigation: specific aspects of the relation between the Modernist poets and musical art; the role of musicality in the modernization of the Spanish poetic idiom; rhythmical and harmonic techniques and functions of the musical effects in diverse Modernist poems; the relation between the music of Modernism and the rise of music, in the 19th century, to the condition both of goal and metaphor for poetry; the particularities of the recourse to music in the poetry of Herrera y Reissig.