published_or_final_version / Chinese / Master / Master of Arts

Transcendentalism's key tenet is the act of ego-transcendence: the perception of the basic unity of human being, nature, and universe, beyond traditional dichotomies such as ego/world, ego/non-ego, ego/others, spirit/matter, good/evil. It is, therefore, an awakening of the Self in the sacred world where profane dualities are non-existent, an illumination of consciousness in the perception of Cosmic Unity. Chapter 2 considers transcendentalism an archetypal Weltanschauung and therefore pursues its evolvement through time: in Latin American aboriginal cultures, especially Costa Rican; in Oriental thought: Hinduism, Taoism, and Zen, whose major literary creations are surveyed; in Emerson, Thoreau, and Whitman. It then traces its development in contemporary Hispanic literature, from Becquer, a precursor, to Jimenez and Guillen--the most representative Spanish contemporary transcendentalists--and Lezama Lima and Paz, their Latin American counterparts. It closes with a study of the thought and poetry of the Costa Rican writers who signed the Manifiesto transcendentalista in 1977. Chapter 3 explores transcendentalism in the oral literature of Costa Rican Indians, and a section on Colonial poetry, since most historians have ignored it. It closes by establishing the identity of the first truly Costa Rican poet, Justo A. Facio, the first modern writer to coincide with transcendentalism. Chapter 4 traces most instances of ego-transcendence in Costa Rican poetry from 1894 to 1957. It studies the lyrical evolution of the country in general and thus includes all major writers. Since the chapter offers a comprehensive, unified history of contemporary Costa Rican poetry, all stylistic, ideological, and thematic preferences were incorporated: lyric, epic, social, revolutionary, feminist, and children's poetry were analyzed. A generational scheme was employed for the historical organization, based on Cedomil Goic's adaptation for Latin American literature of Ortega's system, and was complemented with a summary of generational preferences to determine the sensibilidad vital of each group. These two methods allow for comparisons and contribute to incorporate Costa Rican poetry into the mainstream of Latin American literature. The study in general proves that most poets are individuals capable of transcending orthodox dualities to experience the Unity of existence.

The Bodleian manuscript Digby 86 was written during the thirteenth century. It contains verse and prose texts,in Latin, French and English, on religious and secular subjects. It is one of the earliest common place books compiled in a secular setting. It contains unique copies of several French and English poems, and the earliest known copies of several more. More than half of the manuscript is written in French. There is a strong bias towards religious and didactic texts. Most of the known authors of the texts belonged to the secular clergy. The shorter Anglo-Norman poems in the manuscript are particularly interesting, and nine of them are edited here. Of the nine poems, four are devotional, and each of these has survived in at least four manuscripts; five- are secular, and none of these has survived incomplete form in any other manuscript. None of the nine poems is referred to in the standard work on Anglo-Norman literature, M.D.Leqqe's Anglo-Norman Literature and its Background, and although they are not all remarkable literary achievements, they are all interesting either for poetic merit, or for their literary affiliations, or for the metrical and linguistic forms displayed. The Bone preere a nostre Seinqnour Jhesu Grist (l) is a contemplative and penitential prayer to Christ. It is adapted from a Latin prayer attributed to St.Edmund of Abingdon, which has survived only in MS Bodley 57. The Latin prayer has not been edited, and is not listed in the standard reference works. The Chauncoun de noustre Seinqnour (II) is composed in an intricate metrical form, and this has been obscured in previous editions. The language is sophisticated, and the style blends elements of the secular love lyric with conventional formulas of devotion. Les Avés noustre Dame (III) consists of three parts, salutations of the Virgin, a prayer of the Five Joys, and a Litany of the Saints, and it has often been listed as three separate poems. But this goes against the manuscript tradition, and it should probably be regarded as one composite whole. It has survived in eight different versions, whereby two manuscripts contain two versions each, and one version is a continental 'normalized 1 text. One of the versions has not previously been identified, because in it the first eight stanzas are missing. [Continues in thesis]

This research report is submitted in partial fulfilment of the requirements for the degree of Masters in Education by coursework and research report. School of Education, University of Witwatersrand. Johannesburg, July 2015. / This report explores the ways in which meaning is constructed, adapted or altered as Grade 9 English Home Language learners redesign the meaning of a poem multimodally in the English classroom in a state secondary school in Johannesburg. A unit of poetry work was designed to explore how learners, working together in groups and independently of the teacher, ‘shift’ across and within modes in the process of redesigning meaning. An array of prescribed poems chosen from official sources – one selected per group – which served as a foundation for designing and creating multimodal artefacts and ensembles, was set as primary texts. The main purpose of this report, then, is to determine how meaning is constructed in learners’ responses through their products and presentations in a pedagogic approach that is informed by both multimodality and multiliteracies. The two core concepts in this report – design and modes – are recognised as significant concepts in analysing learners’ multimodal artefacts in this chain of semiosis and compared with the characteristics of the original ‘poem on paper’. A multiliteracies pedagogy and multimodal artefact design are used to provide the Grade 9 learners the support to ‘unlock’ their potential and encourage resources to emerge from which they can construct meaning in innovative ways. Since the learners work collaboratively in groups to redesign the meaning of a poem multimodally, findings suggest that this strategy fostered the interaction of ideas, learner activity and engagement and learner verbalisation of ideas. Learners’ ideas were developed, articulated, clarified and transformed within the groupwork discussion and were made visible in their multimodal artefacts. Learners’ final products in the chain of semiosis were of good quality. In the process of redesign, as agents of meaning making, learners used semiotic resources and the integration of modes to represent their poem multimodally. The words themselves had to be extracted from the poem, redesigned and represented in another form or mode. Finally, this pedagogy demonstrates that it is possible for learners to be active designers of meaning while remaining within the prescriptive parameters of the relatively recent Curriculum and Assessment Policy Statement (CAPS) curriculum. Learners were able to successfully reshape and resemiotise the primary text into other modal artefacts, which one could taste, smell, touch, see or hear.

手稿本. / Thesis (M.A.)--香港中文大學. / Shou gao ben. / Includes bibliographical references (leaves 505-506). / Thesis (M.A.)--Xianggang Zhong wen da xue. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 資料──唐代詩評作品概述 --- p.6 / Chapter 第二節 --- 唐詩之分期 --- p.23 / Chapter 第二章 --- 太宗貞觀至中宗景龍 --- p.32 / Chapter 第一節 --- 上官儀 --- p.36 / Chapter 第二節 --- 四傑──王勃、楊炯、盧照鄰、駱賓王 --- p.39 / Chapter 第三節 --- 沈佺期、宗之問 --- p.46 / Chapter 第四節 --- 蘇味道、李嶠、崔融、杜審言 --- p.53 / Chapter 第五節 --- 陳子昂 --- p.59 / Chapter 第六節 --- 其他 --- p.65 / Chapter 第七節 --- 結論 --- p.71 / Chapter 第三章 --- 宗玄開元天寶 --- p.73 / Chapter 第一節 --- 張說、張九齡 --- p.77 / Chapter 第二節 --- 王昌齡、王之渙、李頎 --- p.84 / Chapter 第三節 --- 王維、孟浩然、劉長卿 --- p.95 / Chapter 第四節 --- 高適、岑參 --- p.114 / Chapter 第五節 --- 李白 --- p.122 / Chapter 第六節 --- 杜甫、鄭虔、蘇源明、薛據、嚴武 --- p.141 / Chapter 第七節 --- 錢起、郎士元 --- p.169 / Chapter 第八節 --- 其他 --- p.173 / Chapter 第九節 --- 結論 --- p.182 / Chapter 第四章 --- 肅宗至德至代宗大曆 --- p.188 / Chapter 第一節 --- 元結、孟雲卿 --- p.190 / Chapter 第二節 --- 韋應物、皎然 --- p.202 / Chapter 第三節 --- 大曆十子及李益 --- p.213 / Chapter 第四節 --- 王建 --- p.234 / Chapter 第五節 --- 其他 --- p.237 / Chapter 第六節 --- 結論 --- p.243 / Chapter 第五章 --- 德宗建中至憲宗元和 --- p.245 / Chapter 第一節 --- 白居易、劉禹鍚、元稹、李紳 --- p.249 / Chapter 第二節 --- 韓愈、孟郊、盧仝、賈島 --- p.296 / Chapter 第三節 --- 張籍、李賀 --- p.331 / Chapter 第四節 --- 柳宗元 --- p.349 / Chapter 第五節 --- 姚合 --- p.355 / Chapter 第六節 --- 其他 --- p.359 / Chapter 第七節 --- 結論 --- p.370 / Chapter 第六章 --- 穆宗長塵至文宗開成 --- p.372 / Chapter 第一節 --- 杜牧 --- p.374 / Chapter 第二節 --- 張祐 --- p.381 / Chapter 第三節 --- 許渾 --- p.388 / Chapter 第四節 --- 劉得仁 --- p.392 / Chapter 第五節 --- 李商隱、段成式、溫庭筠 --- p.396 / Chapter 第六節 --- 其他 --- p.410 / Chapter 第七節 --- 結論 --- p.415 / Chapter 第七章 --- 武宗會昌至昭宗天祐 --- p.418 / Chapter 第一節 --- 薛能 --- p.420 / Chapter 第二節 --- 皮日休、陸龜蒙 --- p.427 / Chapter 第三節 --- 司空圖 --- p.448 / Chapter 第四節 --- 方干 --- p.454 / Chapter 第五節 --- 鄭谷 --- p.462 / Chapter 第六節 --- 韋莊 --- p.467 / Chapter 第七節 --- 其他 --- p.472 / Chapter 第八節 --- 結論 --- p.488 / Chapter 第八章 --- 總結 --- p.490 / Chapter 第一節 --- 唐人評唐詩之標準 --- p.490 / Chapter 第二節 --- 唐詩之影響 --- p.502 / Chapter 附錄 --- 參考書目 --- p.505

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Jyatsna Mohan's edition of the Kāvyaprakāśa (Nag Publishers, 1995) is transliterated, edited, and translated from Sanskrit into English. / text

published_or_final_version / Literary Studies / Master / Master of Arts

published_or_final_version / Chinese / Master / Master of Philosophy