葉植興. / 論文(哲學碩士) -- 香港中文大學硏究院中國語言及文學學部, 1997. / 參考文獻: leaves 142-146. / Ye Zhixing. / Chapter 第一章： --- 導言 --- p.1-4 / Chapter 第二章： --- 從阮籍的仕宦生涯以看其玫治立 場、思想行爲與人格 --- p.5 -19 / Chapter 第三章： --- 〈詠懷詩〉的創作背景及思想内容 --- p.20 -36 / Chapter 第一節： --- 〈詠懷詩〉的創作背景 --- p.20-21 / Chapter 第二節： --- 〈詠懷詩〉的思想内容 --- p.21-36 / Chapter 第四章： --- 〈詠懷詩〉的藝術特徵 --- p.37 -114 / Chapter 第一節： --- 從〈詠懷詩〉的淵源以觀其 藝術特徵 --- p.37-40 / Chapter 第二節： --- 〈詠懷詩〉中比興的探索 --- p.41-54 / Chapter ˘ثł： --- "解詩的""比興´ح與藝術創 作的""比興´ح" / Chapter 乙： --- "從解詩的""比興""來看 〈詠懷詩〉的比興" / Chapter 丙： --- "從藝術創作的""比興""來 看〈詠懷詩〉的比興" / Chapter 第三節： --- 〈詠懷詩〉的主要意象分析 --- p.55-79 / Chapter ˘ثł： --- 比興與意象的關係 / Chapter [一]： --- 赋比興與托物寓意的關係 / Chapter [二]： --- 阮籍〈詠懷詩〉中的比興與 意象的關係 / Chapter 乙： --- "〈詠懷詩〉中""鳥""的意象分析" / Chapter 丙： --- 〈詠懷詩〉中草木的意象分析 / Chapter 丁 --- ：〈詠懷詩〉中意象運用的方法 / Chapter 第四節： --- 〈詠懷詩〉中用事的探索 --- p.80-97 / Chapter 甲： --- "“用事""的界定" / Chapter 乙： --- 〈詠懷詩〉用事的旨義、方法 / Chapter 丙： --- 〈詠懷詩〉用事的特色 / Chapter 第五節： --- 〈詠懷詩〉用語上歧義性的 探索 --- p.98-106 / Chapter 甲： --- 引言 / Chapter 乙： --- 〈詠懷詩〉中歧義用語的 分析和使用方法 / Chapter 第六節： --- 〈詠懷詩〉的篇章組織初探 --- p.107-112 / Chapter 甲： --- 篇章之間的互補關係 / Chapter 乙： --- 逐層深入及集中焦點的 詩篇組織 / Chapter 第七節： --- 結論 --- p.113-114 / Chapter 第五章： --- 〈詠懷詩〉在五言古詩中的藝術成就和 地位 --- p.115 -141 / Chapter 第一節： --- 從阮籍以前的五言古詩發展 看〈詠懷詩〉的藝術成就和地 位 --- p.115-125 / Chapter 第二節： --- 前人對〈詠懷詩〉藝術成就的評 價 --- p.125-128 / Chapter 第三節： --- 〈詠懷詩〉在五言古詩中的影 響 --- p.128-141 / 附錄：參考書目 --- p.142-146

陳子謙. / "二〇〇七年十月" / 論文(哲學碩士)--香港中文大學, 2007. / 參考文獻(leaves 97-116). / "Er ling ling qi nian shi yue". / Abstract in Chinese and English. / Chen Ziqian. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (leaves 97-116). / Chapter 第一章 --- 導論：馬博良的多元身分 --- p.1 / Chapter 第一節 --- 馬博良簡介 --- p.1 / Chapter 第二節 --- 前人硏究述評 --- p.3 / Chapter (一） --- 《文藝新潮》編輯 --- p.3 / Chapter (二） --- 詩人 --- p.11 / Chapter (三） --- 其他 --- p.18 / Chapter 第三節 --- 硏究範圍 --- p.20 / Chapter 第二章 --- 在互動中生長的現代主義´ؤ´ؤ馬博良（文藝新潮〉的編輯工作 --- p.22 / Chapter 第一節 --- 《文藝新潮》的現代主義色彩 --- p.23 / Chapter 第二節 --- 回到現代主義路線圖的起點´ؤ´ؤ《文藝新潮》的編輯方針 --- p.27 / Chapter 第三節 --- 重寫現代主義宣言：編者與論者的互動 --- p.35 / Chapter 第四節 --- 扎根香港？駛出香港？´ؤ´ؤ《文藝新潮》的編輯取向 --- p.40 / Chapter 第三章 --- 怎樣現代？´ؤ´ؤ馬博良香港時期詩作 --- p.45 / Chapter 第一節 --- 感傷或奮進：現代主義大旗下的詩人或編輯 --- p.47 / Chapter 第二節 --- 現代主義的另一個階段：《焚琴的浪子》與《美洲三十絃》的關連 --- p.51 / Chapter 第三節 --- 現代的背面：古典與憶舊 --- p.61 / Chapter 第四節 --- 怎樣(不)現代？´ؤ´ؤ無城的現代主義 --- p.67 / Chapter 第四章 --- 現代的另一面：馬博良的通俗作品 --- p.73 / Chapter 第一節 --- 五十年代香港文化環境 --- p.73 / Chapter 第二節 --- 無奈屈從，抑或從容游走？´ؤ´ؤ馬博良對商業化出版的態度 --- p.75 / Chapter 第三節 --- 現代´Ø西方´Ø消費´ؤ´ؤ《七彩週報》呈現的荷里活風華 --- p.79 / Chapter 第四節 --- 在獵奇與豔羨之間´ؤ´ؤ《西點》譯介的異國風¯‘ة --- p.82 / Chapter 第五節 --- 《七彩周報》與《西點》小說的現代氣息 --- p.88 / Chapter 第五章 --- 結語 --- p.93 / 參考書目 --- p.97 / 後記 --- p.117

Le poète arménien Yéghiché Tcharents (1897-1937) devient victime des répressions staliniennes des années 30. Tcharents est déjà un poète connu lorsque la révolution éclate en Russie. Il voit dans la révolution le sauveur de son peuple au destin tragique. Il croit aux idéaux humanistes de Lénine comme beaucoup de ses contemporains. Cependant, le pouvoir totalitaire de Staline change son regard politique. Sa poésie reflète ses inquiétudes. En 1933, le recueil de poèmes Livre du chemin, un compte-rendu de sa vision poétique de la construction de la nouvelle société, ainsi que de l’éducation de l’homme soviétique, est censuré. Il est publié à nouveau avec des modifications. Tcharents, le poète de tous les combats, ne parvient pas à cacher son désaccord, sa désillusion vis-à-vis du pouvoir politique. Il témoigne à travers sa poésie. Le système répressif ne le laisse plus en paix. Il est inculpé comme contre-révolutionnaire, trotskiste, nationaliste, terroriste. En juillet 1936, il est assigné à résidence. La poésie demeure l’unique espace où il pense et écrit librement. Malade et conscient de l’imminence de sa mort, il survit grâce à sa poésie, dans son univers de visions. L’argumentation de la thèse est construite sur l’analyse littéraire des textes du corpus : le Livre du chemin et les textes poétiques de 1935 à 1937 de Tcharents. Une étude concise du contexte historico-politique de sa poésie et une analyse littéraire de son œuvre avant 1933 sont aussi proposées, permettant de mieux percevoir la complexité des relations entre le poète-individu et son époque, et enfin, de réunir tous les éléments nécessaires de traduction faisant partie de l’objectif de cette étude doctorale. / The Armenian poet Yeghishe Charents (1897-1937) becomes victim of Stalin’s repressions in the Thirties. Charents is already known as a poet when the revolution bursts in Russia. He sees in the revolution the saver of his people with the tragic destiny. Like many of his contemporaries he believes in the humanistic ideals of Lenin. However, the totalitarian power of Stalin changes his political views. His poetry reflects his concerns. In 1933, the collection of poems Book of the way, a report of his poetic vision of the new society, as well as the education of the Soviet man, is censored. It is published with changes. Charents, the poet actively involved in a number of social issues, cannot hide his dissension and disillusion with respect to the political power. He bespeaks through his poetry. The repressive system does not leave him any more in peace. He is accused of being a contra-revolutionist, trotskyist, nationalist, terrorist. In July 1936, he is put under house arrest. Poetry remains the sole space where he thinks and writes freely. Ill and aware of the imminence of his death, he survives in his universe of visions thanks to his poetry.The argumentation of this doctoral thesis is built on the literary analysis of the texts in the corpus: the Book of the way and the poetic texts of 1935 to 1937. A concise study of the historical-political context of his poetry and a literary analysis of his work before 1933 are also proposed. This allows to better perceive the complexity of the relations between the poet-individual and his time and, finally joins all the elements necessary for the translation, which is an objective of this doctoral study.

And the Word Was Made Flesh: Anthropomorphism in the poetry of WH Auden examines the reasons for the neglect of Auden’s prolific deployment of anthropomorphism by examining the poetry’s critical reception with a view to understanding what larger purpose, what ‘strategy of discourse’ (Ricoeur 2003, The Rule of Metaphor: 5-9), Auden may have had in mind when he revived a trope traditionally regarded as retrograde. Anxious not to be mistaken for a Modern, yet unable to find a social rhetoric to suit his purposes, Auden elected upon a new style of poetry which questioned the very foundations of language by placing anthropomorphism, the ascription of agency and sentience to voiceless entities, at its centre. The study explores anthropomorphism from historical and theoretical perspectives in an attempt to explain the reasons for its demise, at least, within the academy. This study emphasises the importance Auden placed on the everyday activity of reading, the principal focus for the poet’s ‘cultural theory’ (Boly 1991 and 2004: 138). Auden, 'eager to create a tradition of its own' (Emig 2000: 1), abjuring propaganda, hoped to educate the reader to resist the different ideologies which were vying for ascendency during the 1930s. This study will demonstrate that anthropomorphism, with its capacity to suggest alternative words to ‘re-describe reality’ (Ricoeur 2003: 5), played a pivotal role in Auden’s project for cultural renewal. This study demonstrates that the lasting benefit of Auden’s use of anthropomorphism is to have recognised with prescience what critics now recognise as a 'revolutionary and potently counter-cultural tactic of cultural appropriation' (Paxson 1994: 173), a trope that 'engenders within its semiotic structure a hidden critique of Western culture' (Paxson: 50). Evidence from recent linguistic theory is marshalled in support of the trope’s rehabilitation. This study examines a selection of Auden’s four hundred published poems, and it also offers a provisional taxonomy to initiate the complex process of classifying instances of personification and its co-ordinate tropes in poetry. / English Studies / M.A. (English)

Orientador: Marcio Seligmann-Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-10T13:53:51Z (GMT). No. of bitstreams: 1 Malufe_AnnitaCosta_D.pdf: 1864725 bytes, checksum: 102361a29777328303e6fcf39624d67e (MD5) Previous issue date: 2008 / Resumo: Este trabalho consiste na investigação de procedimentos de escrita em dois poetas brasileiros contemporâneos, Ana Cristina Cesar e Marcos Siscar, tendo como ponto de partida conceitual a filosofia da imanência de Gilles Deleuze e Félix Guattari. Ao invés de um ¿estudo de caso¿, o objetivo é a reflexão acerca da leitura de poesia contemporânea a partir, principalmente, do conceito de sentido enquanto acontecimento, tal como é formulado desde as obras de Deleuze Logique du sens e Différence et répétition. Nesta direção, as poesias de Ana C. e Siscar são tomadas como ressonâncias brasileiras atuais para se pensar o funcionamento de poéticas que sugeririam, ou possibilitariam, uma leitura imanente do plano de composição do poema / Abstract: The present thesis is an investigation of writing¿s procedures in two contemporaries brazilian poets, Ana Cristina Cesar and Marcos Siscar, having as conceptual starting the Gilles Deleuze¿s and Félix Guattari¿s philosophy of imanence. Instead of a ¿study of case¿, the objective is the reflexion concerning the contemporary poetry reading, starting from the concept of the sense as event, as it is formuled by Deleuze since his works Logique du sens and Différence et répétition. In this direction, Ana Cristina¿s and Siscar¿s poetries are taken as current brazilian resonances to think the functioning of poetical that would suggest, or would make possible, an imanent reading of the poem¿s plan of composition / Doutorado / Teoria e Critica Literaria / Doutor em Teoria e História Literária

Orientador: Paulo Sergio de Vasconcellos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-08T03:30:06Z (GMT). No. of bitstreams: 1 Bem_LucyAnade_M.pdf: 1381102 bytes, checksum: 5c9a54105f6fd8923369f803a7e85cbd (MD5) Previous issue date: 2007 / Resumo: Este trabalho de pós-graduação propõe a tradução latina-portuguesa e a análise lingüística e literária do livro I d¿Os Amores de Ovídio. Essa análise visa principalmente o(s) discurso(s) que compõem o volumen: acreditamos que o discurso elegíaco, típico da poesia amorosa da época de Augusto, seja em si mesmo um lugar de encontro e confronto de diversos discursos, entre eles o épico (o bélico), o cômico, o amoroso e o trágico. Através de nossa análise, demonstramos que Ovídio deixou manifesta essa mistura discursiva, tão própria da elegia em seus Amores ¿ a todo o momento vemos que, para o poeta, o amor e a guerra constituem milícias importantes, ora distintas, ora semelhantes. Dessa forma, podemos entender que o poeta, através de sua postura n¿Os Amores, tenta valorizar aquele que se dedicava ao amor (entenda-se a poesia amorosa) em vez dos assuntos militares e da vida pública. Podemos dizer, também, que o(s) discurso(s) que ele utiliza para compor Os Amores revelam o quanto a vida militar (e sua violência peculiar) e seu discurso se encontravam presentes nas mais distintas esferas da vida romana. Finalmente, também podemos dizer que essa obra demonstra, claramente, que nenhum discurso é isolado em si mesmo, mas que é permeado por muitos gêneros e tipos de discursos / Abstract: This post-graduating work proposes the translation from Latin to Portuguese and the linguistic and literary analysis of the book one from Ovid¿s Loves. This analysis aims, especially at discourses that integrate the volumen: we believe that the elegiac discourse, typical of the love poetry of Augustan age, is in itself a point of meeting and confrontation of many other discourses, and among them, the epic (warlike), the comic, the love and the tragic discourses. Through our analysis, we demonstrate that Ovid let evident this blend of speeches, so usual in the elegy of his Amores ¿ all the time we can see that, for the poet himself, love and war are significant armies, sometimes distinct, sometimes similar. Thus, we can see that the poet, in the posture his persona adopts in the Loves, tries to valorize that one who dedicates himself to love (and to the poetry of love) instead of military matters and public life. We also can say that the discourses in the Loves show how the military life (and the violence inherent to it) and his peculiar speech were present in the most distinct areas of private life from the Roman Empire. At last, we can also say that this work shows, clearly, that no speech is isolated in itself, but that it is permeated by a lot of genres and types of discourses / Mestrado / Mestre em Linguística

Orientador: Silvana Mabel Serrani / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-25T11:34:43Z (GMT). No. of bitstreams: 1 Pinheiro_MarcioLuizOliveira_M.pdf: 1361639 bytes, checksum: a351714a382e60f9382d07aefbcc560c (MD5) Previous issue date: 2014 / Resumo: Esta dissertação aborda a obra poética de Jorge Ricardo Aulicino, considerando elementos do Objetivismo argentino e marcas específicas da poética do autor. Dentre elas, a dissertação enfoca o cruzamento de linguagens com as artes visual e musical. Estudam-se o olhar, a construção de cenas poéticas e de sentidos, examinando planos e focos na poetização, o tom dialogal construído por Aulicino e a articulação de mundos que acontece em seus poemas. Na última seção, é analisado um elemento crucial em sua poesia: o elemento narrativo-ficcional presente na construção da cena poética. Nas conclusões, depreende-se que o elemento dialogal e o polifônico na obra de Aulicino compreendem jogo de vozes. Ele pode se dar com interlocutores concretos, sendo incluído pelo poeta em situações dialogais. Tais situações estão, frequentemente, associadas à autorreflexão do eu lírico ou, a outra voz que pode não ser a de um interlocutor individual, mas uma voz genérica. Ela pode estar incluída no poema em estilo linear ou não, nos termos bakhtinianos. Outro elemento recorrente na obra do Aulicino e que podemos considerar característico de sua poética é a contradição entre a concretude e a intangibilidade/imaterialidade, implícitos ou êxtases no cotidiano. Em Aulicino, a indagação poético-existencial integra a cena, revelando-nos a busca do eu-lírico pela veracidade das formas de captação da realidade. Na obra de nosso poeta, o ponto de injunção em que se dá a representação artística do que se quer expressar na cena poética tem por base a expressão da diversidade de sentimentos demonstrados pelo sujeito-lírico que iluminam o "mundo real" / Abstract: This dissertation is about the poetic works of Jorge Ricardo Aulicino. It considers elements of the Argentinian Objectivism and specific brands of Aulicino¿s poetic. The focus of this work is on intersection of languages with the visual arts and music. The poetic view, the construction of poetic scenes and senses are studied by examining plans and focus in poetry, dialogue tone built by Aulicino and linkage of worlds that happens in his poems. The last part considers a crucial element in his poetry: narrative-fiction element in the construction of the poetic scene. In the conclusion, it is seen that dialogue tone and polyphonic elements in Aulicino¿s poetic work make up a set of voices. It can be actual interlocutors included by the poet in dialogue¿s situations. Such situations are frequently associated with the self-reflection of a persona or, another voice that may not be a single interlocutor, but a generic voice, which may be included on poem in linear style or not, in Bakhtin terms. Others elements in Aulicino¿s work that we can consider characteristic of his poetry are the contradiction between the concreteness and the intangibility/immateriality, as well as ecstasies presents in every day life. In Aulicino, poetic-existential inquiries integrate the scene by revealing to us the persona's search for veracity of ways of sensing reality. In Aulicino's work, the expression of the diversity of feelings demonstrated by the persona who enlightens the "real world" is the point in which the artistic representation of what you want to express in the poetic scene happens / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

This dissertation is comprised of a collection of poems preceded by a critical preface. The preface considers the consumed animal body as a metaphor in contemporary American poetry, specifically in the works of Galway Kinnell, Li Young Lee, and Brigit Pegeen Kelly. The consumption of the mute creature allows the poet to identify the human self in the animal other, and serves as a metaphor for our continuity with the natural world. I revise Owen Barfield’s notion of “original participation,” positing that through imaginative participation, the poet and the reader can identify the animal within the self, and thus approach a fuller understanding of both the self and the outside world. We identify the animal other within the human self, and in of this act of relating, we are able to temporarily transgress the boundaries of the individual self to create art that expresses continuity with the outside world. This argument brings about a discussion of text as an act of consumption, and the way and which this can symbolize the ways in which the self is altered through the act of reading. The book-length collection of poems, entitled Marvels of the Invisible, won Tupelo Press’s 2014 Berkshire prize for a first or second book of poetry. The poems look to sources like 17th and 18th century scientific letters, modern and contemporary art, and recent studies in biological phenomena in order to parse the intersection between personal experience and the outside world. The title of the collection points to the conceptual interests of the book: through the lens of scientific phenomena, memory, and personal history, one begins to see that what seems very small (the ant under a microscope, a Russian nesting doll, two people on horseback) are, in fact, individual offerings that articulate one’s place in the cosmos. The collective voice I advocate in the critical preface appears in these poems, especially “Echolocation,” “My Name in Sleep,” “Civilization,” and “Narrative,” all of which make use of the animal-as-metaphor. This collective voice is particularly female, and deals with motherhood, loss, and childhood experience. Poetry, as part-myth, longs to transgress the felt boundaries of the self; it must see that self as inextricably dependent on the natural world.

This dissertation contains two parts: Part I, which discusses the methods and means by which poets achieve originality within ekphrastic works; and Part II, Recklessness and Light, a collection of poems. Poets who seek to write ekphrastically are faced with a particular challenge: they must credibly and substantially build on the pieces of art they are writing about. Poems that fail to achieve invention become mere translations. A successful ekphrastic poem must in some way achieve originality by using the techniques of the artist to credibly and substantially build on the art. The preface discusses three ekphrastic poems: W.H. Auden’s “Musée des Beaux Arts,” John Ashbery’s “Self-Portrait in Convex Mirror,” and Larry Levis’ “Caravaggio: Swirl and Vortex.” In order to invent, each of these poets connects time within the paintings to time within the poem. The poets turn to techniques such as imprinting of historical context, conflation, and stranging of perspective to connect their work with the paintings. I examine these methods of generating ekphrastic poems in order to evaluate how these poets have responded to one another and to consider emerging patterns of ekphrastic poetry in the twentieth century.

In the Apartheid South Africa, repression and the heightening of the Blacks' struggle for political emancipation, prompted artists to challenge the system through their music, oral poetry and writing. Most produced works of protest in English to reach a wider audience. This led to the general misconception that literatures in the indigenous languages of South Africa were insensitive to the issues of those times. This study seeks firstly to put to rest such misconception by proving that there is Commitment in these literatures as exemplified in the poetry of S.F. Motlhake. Motlhake not only expresses protest against the political system of the time, but also questions some religious and socio-cultural practices and institutions among his people. The study also examines his selected works as genuine poetry, which does not sacrifice art on the altar of propaganda. / African Languages / M.A. (African Languages)