Thesis (doctoral)--Uppsala universitet, 1985. / Abstract and summary in English. Errata sheet laid in. Includes bibliographical references (p. 185-196) and index.

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Title: Authorship Attribution of Poetic Texts Author: Mgr. Petr Plecháč, Ph.D. Department: Institute of Czech National Corpus Supervisor: doc. Mgr. Václav Cvrček, Ph.D. ABSTRACT Contemporary stylometry offers a number of methods for authorship recognition of po- etic texts based on a variety of textual features (e.g. word frequencies, frequencies of character n-grams). However, it seems that one important aspect of these texts has been rather left aside - this aspect is versification. The thesis uses four corpora of poetic texts (Czech, German, Spanish, and English) in order to analyze to what extent versification features - such as frequencies of rhythmic patterns or frequencies of various types of rhymes - may be used as an indicator of authorship. We show that (1) versification-based models significantly outperform the random baseline, (2) in some cases versification- based models even outperform the traditionally used lexical models, (3) in most of the cases combination of both types of models outperforms the given models alone. Versifi- cation features are consequently employed for the purpose of attribution of two texts of doubted authorship: (1) the versified play The Famous History of the Life of King Henry the Eigth which was originally published under the name of William Shakespeare, but where...

The improvvisatore tradition in Florence Italy during the second half of the quattrocento featured poet-musicians who sang poetry for music (poesia per musica) accompanied by the lira (da braccio). This thesis researches Florentine literati and threads of humanism in relation to poetry written for music. By doing so, philosophical and literary trends are analyzed in relation to the Florentine improvvisatore style: frottola versification forms and divinus furor. Marsilio Ficino’s (1433-1499) direction at the Platonic Academy (founded c. 1463) outside Florence in the hills of Carregi influenced some of the greatest artists and musicians of his time. This thesis focuses on lyric improvisation as a means of connecting mind and body with the universe. In doing so, Ficino’s music-spirit-theory and astrological program are looked at in light of the Platonic sources. The instrument of the improvvisatore, the lira, will be analyzed in relation to affect (ethos) and wellness for mind (soul) and body

La littérature persane est surtout connue en Occident par les excellentes traductions en français d'illustres poètes classiques comme Omar Khayyam, Roumi, Hafîz. Genre majeur de la littérature persane, la poésie s'impose pendant des siècles avec ses règles draconiennes de prosodie et de versification. Dans les années 1930, une jeune génération de poètes, sensibles aux transformations sociales, politiques, culturelles et ayant découvert la poésie et la littérature occidentales, s'est engagée dans une lutte systématique contre ces règles intangibles. Le pionnier de ce mouvement est Nimâ Yshij. Il rejette les règles de la poésie classique, aussi bien en ce qui concerne la métrique que la place de la rime. Ahmad Shâmlu, disciple de Nimâ, va plus loin en refusant même la prosodie. En rupture permanente, Shâmlu a marqué la poésie moderne persane, par son œuvre, par ses idées et par ses attitudes. Soucieux des événements de son temps et de sa société, ce poète, traducteur et directeur de revues, a lutté toute sa vie pour ses idéaux humanistes. Une anthologie de ses œuvres traduites en français permettra de faire découvrir aux amateurs ce grand poète persan moderne et contemporain. / Persian literature is best known in the West by the excellent French translations of famous classical poets like Omar Khayyam, Rumi, Hafeez. As a major genre of Persian literature, poetry has for centuries imposed draconian rules of prosody and versification. In the 1930s, younger generation of poets, sensitive to social, political and cultural changes, discovered Western poetry and literature, and engaged in a systamtic struggle against these intangible rules. the pioneer of this movment in Nima Yshij. Her rejected the rules of classical potry, where both versification and rhyme are concerned. Ahmad Shâmlu, a disciple of Nima, goes even further by refusing prosody. Breaking constantly with traditon, Shâmlu has left his mark on modern Persian poetry, in his work, and by his ideas and attitudes. Mindful of the events of his time and of his life for his humanistic ideals. An antthology of his works translatedinto French will enable poetry-lovers to discover this great modern contemporary Persian poet.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

En nous situant dans un horizon critique qui associe à la considération de la trajectoire socio-culturelle de tout auteur l’étude de ses prises de position artistiques et des propriétés distinctives de son oeuvre, nous proposons dans cette thèse une relecture de la production littéraire précoce de Cesare Pavese, relative aux années Trente. Le choix de cette production - Ciau Masino, Lavorare stanca et Il carcere - sûrement moins étudiée, à l’exception du livre de poésie, par rapport aux oeuvres postérieures, permet de déplacer l’intérêt critique du côté de la genèse stylistique pavésienne. Légitimé par son travail de traduction de la littérature anglo-américaine, Pavese présente déjà, à ce stade, une « vocation mélodique » (Mutterle) originaire et originale, caractérisée par l’interdépendance systématique entre poésie et prose.Cette recherche se pose comme objectif de montrer que l’oeuvre poétique pavésienne entretient des relations étroites d’interaction et de correspondance avec sa prose narrative, à travers la construction d’un possible invariant rythmique. Le dépassement de l’opposition stérile poésie/prose favorise l’établissement d’une entreprise littéraire qui, envisageant le rythme en tant qu’élément unificateur qui structure à la fois la mise en forme, son contenu et sa valeur éthique, serait pleinement du côté du sujet qui l’écrit et de l’auteur qui l’énonce. / In this thesis, we offer a reinterpretation of the early literary production of Cesare Pavese, in the 1930s. We do so by placing ourselves in a critical horizon that considers the socio-cultural trajectory of the author and by studying his artistic stances, as well as the distinctive qualities of his work.Our choice consists of three works - Ciau Masino, Lavorare stanca and Il carcere - which are among the less studied, excepted for the second one, of his writings (as opposed to his later works), and allows us to move the critical interest toward the genesis of the style of Pavese. Legitimized by his translations of Anglo-American literature, Pavese possesses already, at this stage, an original and pure «melodic vocation» (Mutterle), characterized by the systematic interdependence between poetry and prose.This research aims to show that the poetic work of Pavese is in a close relationship of interaction and correspondence with his narrative prose, through the construction of a possible rhythmic invariant. Reaching beyond the sterile opposition of poetry/prose goes in favour of establishing a piece of work that would stand fully by the side of the subject who writes and the author who expresses himself, by taking in consideration the rhythm as an unifying element, structuring at the same time the textual shaping, the contents and the ethical value of that work.

Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2017-11-13T23:54:02Z No. of bitstreams: 1 MIVES_Final Pos_Defesa.pdf: 29244508 bytes, checksum: bb9619ef3804aba15097ec1637f66047 (MD5) / Made available in DSpace on 2017-11-13T23:54:02Z (GMT). No. of bitstreams: 1 MIVES_Final Pos_Defesa.pdf: 29244508 bytes, checksum: bb9619ef3804aba15097ec1637f66047 (MD5) Previous issue date: 2017-06-03 / In poetry, various forms of parallelism are remarkable, at various levels of description (syntactic, morphological, phonological), including metrical structures of versification.Although literary prose is not characterized by the predominance of such structures, studies indicate the presence of subliminal metric structures in the prose of Euclides da Cunha, setting the precedent for researches in a still vast field of possibilities around Brazilian literary prose.In Portuguese, the system of metrification is syllabic-accentual and the analytic decomposition of such patterns is known as scansion, and its result is not unequivocal and can vary contextually.This type of prose analysis can be defined as a non-trivial activity that, if performed in a non-automatic way, may require, depending on the size of the work, hours, days or even months of work.This work presents a system, MIVES (Mining Verse Structure), developed for automation of scansion and analysis of metric structures in Brazilian literary prose, starting with a text, extracting and processing sentences, applying possible rules and variations, and displaying results with diverse visualizations for analysis and evaluation. The system was validated through prose and poetry reference texts with known scansion, and new prose literary texts were analyzed and their metrical structures are described. / Em poesia, s?o not?veis diversas formas de paralelismo, em v?rios n?veis de descri??o (sint?tico, morfol?gico, fonol?gico), incluindo estruturas m?tricas de versifica??o. Embora a prosa liter?ria n?o seja caracterizada pela predomin?ncia de tais estruturas, estudos indicam a presen?a de estruturas m?tricas subliminares na prosa de Euclides da Cunha, abrindo precedente para pesquisas em um campo ainda vasto de possibilidades em torno prosa liter?ria brasileira. Em portugu?s, o sistema de metrifica??o ? sil?bico-acentual e a decomposi??o anal?tica de tais padr?es ? conhecida como ?escans?o?, e seu resultado n?o ? inequ?voco podendo variar contextualmente. Esse tipo de an?lise sobre a prosa, pode ser definida como uma atividade n?o-trivial que, se realizado de forma n?o-autom?tica, pode exigir, dependendo do tamanho da obra, horas, dias ou at? meses de trabalho. Este trabalho apresenta um sistema, MIVES (Mining Verse Structure), desenvolvido para automatiza??o da escans?o e an?lise de estruturas m?tricas na prosa liter?ria brasileira, iniciando com um texto, extraindo e processando senten?as, por poss?veis regras e varia??es, e exibindo resultados com visualiza??es diversas para an?lise e avalia??o. O sistema foi validado por meio de textos de prosa e poesia com refer?ncia de escans?o conhecida, e novos textos liter?rios em prosa foram analisados e suas estruturas m?tricas s?o descritas.

Bunkyo Hifuron consists of six chapters, namely 'Heaven', 'Earth', 'East', 'West', 'South', and 'North'. The core part of 'East' is twenty-nine kinds of Dui (couplets), in which Kukai quoted and edited different theories on Dui by early Chinese scholars so that the reader could understand how to use each kind of Dui. Since Dui is a common rhetorical form in Chinese literature, Kukai's instructive information is of great use to scholars. Apart from textual criticism, rhetorical research has been conducted on the materials. However, no comprehensive research has ever been done on the linguistic concepts that underlie twenty-nine kinds of Dui in Bunkyo Hifuron. Therefore, this study will be the first attempt of its kind to address these problems. / Bunkyo Hifuron, is the work by a Japanese Buddhist monk, Kukai (774-835), who studied Buddhism in China. It is an important writing both in the history of Japanese literature and in the study of Chinese literature. In this work, Kukai edited the materials he obtained during his study in China. Some of the original texts quoted in Bunkyo Hifuron are already lost in China, which makes this work even more valuable for textual criticism. It has thus attracted many scholars' attention in their attempts to investigate the poetics and the prosodic techniques in Tang [Special character omitted] and pre-Tang texts. / This thesis is divided into five chapters: the first chapter is the preface, in which the purpose and methodology of this research are explained; in the second chapter, a general account is given of the structure of each kind of Dui; the third chapter analyzes the linguistic concepts underlying the twenty-nine kinds of Dui; the fourth chapter attempts to account for the systematic structure in the twenty-nine kinds of Dui; and the last part is the conclusion. / 文映霞. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: 2022. / Thesis (doctoral)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (p. 364-379). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Wen Yingxia.