No description available.

No description available.

No description available.

The edition examines the manuscripts, history and significant variants of Le Crève-Coeur and of 'La Rime en 1940'. Aragon's claim that the collection has its origins in World War 1 is considered, but little evidence for this is found. A more likely catalyst is the colonial war in Morocco of 1925-26 that led to Aragon's conversion to Communism. It is in the 1930s that the poet develops his strategy of poetry as a 'contrebande' against war. The principal influences on Aragon in this undertaking are evoked. A survey is given of the political and historical circumstances of Le Crève-Coeur, and they are shown to be indivisible from the poetry. The main themes of the collection are considered and the degree to which the 'contrebande' technique affects their accessibility. A detailed discussion of 'La Rime en 1940' and of each poem, stanza by stanza, follows.

No description available.

The Ulster poet Samuel Thomson (1766-1816) experienced a brief period of fame during the 1790s and early 1800s when he published three volumes of verse and became a regular contributor of poetry to Belfast newspapers and journals. Known in popular memory as the ‘Bard of Carngranny’, Thomson had been closely associated with many radical activists who participated in the 1798 Rebellion, although it has never been established if he himself took part in the armed rising. His earlier poems, many of which are written in the vernacular Scots language, celebrate and parody local life in the rural North of Ireland. This study examines Thomson’s significance as a literary artist; an initiator of literary discussion and correspondence; and the father of a Northern school of Irish poets who span the cusp where eighteenth-century Augustanism and first generation Romanticism meet. Through the thorough examination of a range of evidence from published editions, public press and journal contributions, to the poet’s manuscripts, this study investigates Thomson’s work against the political, social, historical, and theological contexts which informed its composition. It attempts the first full reconstruction of Samuel Thomson’s life and career, paying particular attention to his correspondence and his last volume of verse, Simple Poems on a Few Subjects (1806) which has rarely been scrutinised in any detail. It highlights Thomson’s desire to assume a bardic role as an enthusiastic young radical who identified cultural similarities between his corner of Ireland and Robert Burns’s Ayrshire. The thesis also traces his enduring political engagement. While Thomson’s political radicalism may have cooled during the Union period, it was substituted for a radical spiritualism that adopts some of the visionary traits of early Romantic poetry.

Two distinct conditional paradigms are available to speakers of Italian, derived from the Latin periphrases cantare habui/cantare habebam. The aim of this thesis is to describe and explain their patterns of attestation in the earliest northern Italian and Tuscan texts, which date from between 1200 and 1400. Textual analysis showed that while the cantare habui periphrasis was native to both areas, the use of the cantare habebam periphrasis differed in the northern and central dialects. In the northern dialects, the cantare habebam periphrasis was attested in all genres over the whole time period, whereas in the Tuscan dialects it only appeared in literary genres. Moreover, although the northern texts attested both periphrases consistently over time in every genre, only Tuscan poetry followed this pattern. Other genres attested reflexes of the cantare habebam periphrasis for short periods in the fourteenth century. These results suggest that different influences resulted in different patterns of conditional use in the two areas. This thesis postulates that in the northern Italo-Romance dialects the cantare habebam periphrasis was introduced through the proximity to, and influence of, Provençal. Although the use of reflexes of cantare habebam was reinforced in the north by the Sicilian school of poets, the dual nature of the sources meant that it was also retained in prose, and thence into modern dialect use. In contrast, reflexes of the cantare habebam periphrasis were introduced into central Italy through the Sicilian school alone. Although it appeared in prose texts, this was a sporadic phenomenon, resulting from imitation of the influential poetic texts. Because there was no prose source for reflexes of the cantare habebam periphrasis, it did not enter non-literary genres and quickly disappeared from literary prose genres. The cantare habebam periphrasis eventually disappeared entirely from Tuscan poetry as well, and is not attested at all in the modern central dialects.

This dissertation focuses on writing and games in Casanova's Memoirs in the light of the critical theories of Philippe Lejeune, Gerard Genette, Roger Caillois, and Francesco Alberoni. It analyzes, from textual and sociological perspectives, how the different versions of the Memoirs, the influential aspects of games (competition, luck, chance, simulation, and vertigo), and the representation of love made of this text an exceptional autobiography and led to the development of the myth of Casanova. This study examines the relationship between writer and reader and its effects. The motivating concern of this work is to show how Casanova articulates the creation of his own myth through the writing of his Memoirs.

One of the few secular female writers of the Spanish Golden Age who received favorable criticism and was highly admired in her time was Ana Caro. However, even though critics and historians affirm that Ana Caro was a prolific writer only two of her plays are extant: Valor, agravio y mujer and El conde Partinuples. Today a few studies exist which treat the themes of Caro's play Valor, agravio y mujer, but there is no study of the versification or the internal structures of her work. Also, no comparative analysis has been made of the different editions found in various libraries. This study is divided into three chapters: the biography and literary production of Ana Caro; a critical analysis of the internal structures, and a separate chapter for the editions of Valor, agravio y mujer and El conde Partinuples with footnotes and bibliography. Chapter one traces the life of Ana Caro and calls attention to the accomplishments of this woman, in spite of an age which subordinated secular women to the narrow world of domestic life, she was able to rise above such limitations and create a work of art that in more than one way departed from the conventional forms of the Comedia of her time. The second chapter consists of a detailed investigation of the manuscripts and printed editions of the author's texts Valor, agravio y mujer and El conde Partinuples. This required the examination and comparison of all existing editions, the systematic ordering--from the earliest to the latest--and a study of the versification. This chapter also examines and discusses at length both Comedias. The last chapter consists of annotated editions of Valor, agravio y mujer and El conde Partinuples with proper emendations and the correct punctuation suggested. The dissertation concludes with an extensive appendix which includes a bibliography of the literary production of Ana Caro, versification charts of both plays, a summary of the graphic characteristics of the earliest manuscripts, and the diverse titles used in her play El conde de Partinuples. A list of the works cited closes the dissertation. (Abstract shortened by UMI.)

This dissertation examines the dynamics of deceit, (dis)simulation and dualism in Francois de Rosset's poetry and prose. Both portraying and enacting simulacra, Rosset's texts and paratexts reveal a complex skein of intertextuality and allusion while embodying a critique of semiotic systems, particularly of language itself. His works manifest an obsession with the duality hegemony/marginality, while simultaneously exhibiting a yearning for an impossible unity and an attraction for figures of power. As the baroque yields to the preclassical during Rosset's lifetime (1570-1619), he conforms to Malherbian poetic principles, simulating the new esthetic by rewriting selections from his 1604 XII Beautez ... for publication in his 1618 Delices ..., a poetry anthology illustrating a politics of inclusion/exclusion. The Histoires tragiques exemplify the diabolical in action. As the epistemological shift that Foucault describes takes place, Rosset's works reflect tensions between a near-medieval world-view and an emergent but sporadic rationalism. Numerous intertextual modes create ambiguity, causing strain between elements of popular and high culture, and involving the simulation of an aristocratic narrative persona. Tromperie and transgression become a way of life and death, revealing an interplay of unstable and/or doubtful identities. Rosset's Counter-Reformational discourse dramatizes both crime and punishment. The criminal's execution effects sublimation of rampant violence, enacting a (Girardian) reconciliatory catharsis. While the Histoires tragiques stress the transgressive through sex and gore, the 1617 Histoires des amants volages present a homogeneous vision of courtly life in which inconstancy and duality become more cerebral. The ensuing critique of amorous language extends to all language, which, through iterability or miscuing, inevitably provokes tromperie. The linguistic performative lies dissimulated beneath the story line, often intervening to effect a peripeteia. Simulation here involves acting out conformity to social and linguistic codes, while dissimulation facilitates a private agenda at odds with appearances. Bridging the Renaissance and the seventeenth century, Rosset's works show a preoccupation with the arbitrariness and ambivalence of the sign, thus prefiguring the post-modern questioning of codes.