This master thesis is concerned with biblical epic poem (or "epos") by Slovak author Augustin Dolezal, called Memorial Tragedy (1791, originally in Czech language). In this type of genre author takes well known biblical stories, such as fall of man or murder of Abel and adds his own fabricated circumstances. In this particular case author is trying to provide reader with catechesis and religious education on top the tale. Tragedy is mainly focused on the nature of sin and its connection to human condition, fall of man and possibility of evil in the world. Method of this paper is mainly theme analysis and comparison with Bible and its well known exegesis throughout the history. It is focused on comicality, which shall be defined in the theoretical part. Practical part attempts to come up with interpretation of the text in such a way, that certain themes, tropes or figures from the literary text are interconnected with certain features of comicality and shown as such. Keywords: Comicality, Biblical Epic Poem, Augustin Dolezal, Baroque, Classicism, Carnivalesque

Robert Frost once remarked, “Poetry is what gets lost in translation,” and many literary people find translation to be a near-impossible task.  I can feel that all the “translation” more or less is kind of violence. Behind the language, the culture. Behind the sentences, the individuals. Behind the words, the emotion. Behind the blank space, the currents. If the “original one” is a flower, then translation is cutting the flower from its roots and putting it into a vase (A totally different environment). When Moa read this, she said "Or translation as a seed that is planted in a different soil, and thus grows into a different kind of flower, but still a kind of flower?" I like this idea.  I’m living in translation. Not only translating between my mother language and English, but also between texts and images, even between images and images. And in this case, I believe everyone is living in translation.  My classmates come from different countries all over the world, and none of us has English as our mother tongue. How lucky we are, we all have our private secret language. This is a very interesting environment for me, I became very brave and started thinking deeply about languages and translation.

Background: Achalasia is a primary esophageal motility disorder that can be classified into three types (I-III) based on high-resolution manometry (HRM). Exact pathogenesis is unknown, but immune-mediated processes and genetic predisposition play a role, which is supported by finding of a genetic risk variant (rs28688207 insertion) in HLA-DQB1 gene that is strongly associated with achalasia. Per-oral endoscopic myotomy (POEM) has become a standard treatment for achalasia, but the long-term efficacy, safety and impact on esophageal physiology are not fully understood. The aims of our studies were to perform the first genotype-phenotype analysis investigating the frequency of rs28688207 accross three HRM types of achalasia, to evaluate the efficacy and safety of POEM and to assess the post-POEM esophageal motility patterns. Patients and methods: These were three retrospective studies of prospectively collected data. Genotyping of the rs2868827 insertion was performed using real-time PCR in 347 patients from Czech Republic (n = 163), Germany (n = 114), Greece (n = 70). The efficacy and safety of POEM were evaluated in 133 patients treated in our center. The post-POEM esophageal motility was assessed using the Chicago Classification in 237 patients in whom HRM was performed prior to and after POEM....

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Thesis advisor: Richard J. Clifford / The translation of הֶבֶל (hebel) with vanitas has had a profound influence in the history of exegesis of the book of Qoheleth often characterized as the most pessimistic, skeptical, and nihilistic book in the Hebrew Bible, having as author a despondent man. This dissertation provides a corrective to the “vanity”, “meaningless”, “absurd” or negative reading of הֶבֶל in Qoheleth, by arguing that הֶבֶל has a positive value, as it expresses not the absurdity or the meaningless of life, but its fleetingness/transitoriness/brevity, whose meaning is disclosed in the opening and closing poems (1:2-11 and 12:1-8). This dissertation thus argues that the הֲבֵל הֲבָלִים הַכֹּל הָבֶל which introduces and concludes the book of Qoheleth (1:2; 12:8) is an appeal to contemplate the order, the beauty of the cosmos, through the regularity, recurrence, and cyclicality of natural phenomena. It also calls attention to the fleetingness of human experience in the world, which Qoheleth highlights in the opening and closing poems but also by the use of transient markers: יְמֵי־חַיֵּי הֶבְלוֹ ,(7:15) בִּימֵי הֶבְלִי ,(9:9), כָּל־יְמֵי חַיֵּי הֶבְלֶךָ ,(11:8) יְמֵי הַחֹשֶׁךְ (11:8) יְמֵי בְּחוּרוֹת (11:10) הַיַּלְדוּת וְהַשַּׁחֲרוּת הָבֶל (6:12), as well as אַחֲרָיו ,צֵּל and מִסְפַּר. The shortness of life and the limited duration of human achievements do not empty human life of its true meaning and value. Rather, they tell of the very nature of humans and their actions. The hebelness is from God who made things as fleeting, temporary, transient compared to his own eternity. By using the term הֶבֶל, and by introducing and concluding his book with “nature” poems, Qoheleth reminds the readers of their transience in this world with its pressing and tragic problems, as well as comforting them with the fact that evil itself is temporary in its impacts on life. They will pass away. Hence, Qoheleth’s opening and closing statement: הֲבֵל הֲבָלִים הַכֹּל הָבֶל (1:2; 12:8). / Thesis (PhD) — Boston College, 2020. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

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[pt] Esta tese se propõe a articular uma teoria do poema em Walter Benjamin a partir de seus escritos sobre poesia e linguagem entre 1914 e 1940, tendo como pontos de partida mais significativos uma crítica de dois poemas de Friedrich Hölderlin e uma discussão epistolar com Theodor W. Adorno a propósito de Charles Baudelaire. A principal questão suscitada aqui pela teoria do poema em Walter Benjamin foi: de que forma os poemas se relacionam com as coisas, com a vida e com a história? Nesse quadro, a pesquisa ressalta o lugar central do conceito de poetificado (das Gedichtete) nos escritos de Benjamin, e de sua importância não apenas no pensamento sobre arte, como também no pensamento sobre o tempo histórico, principalmente a partir de sua transformação nos conceitos de teor de coisa e de teor de verdade (Sachgehalt e Wahrheitsgehalt, respectivamente). Para compreendê-lo, este trabalho resultou na criação do conceito de inconsciente poético, que permite relacionar, no pensamento de Benjamin, a investigação dos detalhes de um fenômeno poético à especulação filosófica de sua ideia. Por fim, a pesquisa também tenta compreender quais são, diante dessa teoria do poema, os métodos de Benjamin para uma crítica do poema, a saber, a partir das ideias de que opoema é uma mônada, uma partícula mínima que apresenta uma imagem dahistória, e de que não reflete as coisas nem a vida, mas as expressa. Nesse sentido, mesmo na sua fase materialista, esta pesquisa procura mostrar como o pensamento de Benjamin se distingue da estruturação do marxismo tradicional (como em Georg Lukács) que pensava a superestrutura (e a poesia, por extensão) como um reflexo da infraestrutura (do modo de produção da vida). / [en] This thesis proposes to articulate a theory of the poem in the works of Walter Benjamin stemming from his writings on poetry and language between 1914 and 1940, with a more significant starting point on a critique of two poems by Friedrich Holderlin and an epistolary discussion with Theodor W. Adorno regarding Charles Baudelaire. The main question raised in this thesis by the theory of the poem in Walter Benjamin was: in which way do poems relate to things, life and history? In this framework, the research points out the key concept of poetified (das Gedichtete) in Benjamin s writings and its importance not only for reflections about art but also for those about historical time, mainly from its transformation into the concepts of material content and truth content (Sachgehalt and Wahrheitsgehalt, respectively). In order to comprehend it, this work resulted in the creation of the concept of poetic uncounscious which allows for the relation, in Benjamin s thought, between the investigation of the details of a poetic phenomenon and the philosofical speculation of its idea. Finally, the research also tries to comprehend which are, before this theory of the poem, Benjamin s methods for a critique of the poem, namely stemming from the ideas that the poem is a monad, a minimal particle that presents an image of history, and that it does not reflect things or life, but expresses them. In that sense, even in its materialist phase, this research aims to show how benjamin s thought distinguishes itself from the structuration of traditional Marxism (as in Georg Lukács) wich considered the superstructure (and poetry, in extension) to be a reflex of the infrastructure (of the mode of production of life).

[pt] Propondo uma leitura do traço ensaístico da obra da poeta brasileira Marília Garcia, esta tese apresenta uma pesquisa em torno do que nomeamos de amizade das formas entre poesia e filosofia. Marília Garcia tem produzido uma obra que pode ser considerada, em si mesma, experimental e desviante: desvia do poema ao produzir objetos discursivos prenhes de mecanismos investigativos, ao mesmo tempo que desvia do ensaio inserindo, na especulação e na teoria, procedimentos não apenas criativos, como afetivos. Constituída por três movimentos de escrita, intitulados Perguntas, Imagens e Forma, na primeira parte da tese, a centralidade é dada ao livro Um teste de resistores (2014) através da análise de seu poema de abertura, Blind light. Está em jogo, nesse movimento, deslocar os lugares tradicionalmente atribuídos ao poeta e ao filósofo na participação (ou não) na terra estranha do saber, segundo expressão de Walter Benjamin. No segundo movimento, partindo da afirmação da própria poeta de que as imagens a ajudam a pensar, centramos nossa leitura no uso das imagens técnicas em Parque das ruínas, poema-ensaio que intitula o livro homônimo de Garcia, publicado em 2018. No terceiro movimento, que versa sobre a forma do poema-ensaio, a centralidade é dada ao texto O poema no tubo de ensaio, publicado na antologia crítica Sobre poesia: outras vozes (2016) e em Parque das ruínas (2018), e à história de suas versões. Transversalmente, o trabalho dialoga com a proposição de Giorgio Agamben sobre o estabelecimento da filosofia enquanto forma de conhecimento por meio de uma relação de inimizade com a poesia. Diante desta cisão, que marca o ocidente, propomos pensar, apoiados na emergência da ideia primeiro romântica da crítica de arte e nas teorias do ensaio, uma amizade das formas entre poesia e filosofia marcadamente através do poema-ensaio como forma, sendo esse, portanto, o mote que nos impulsiona em direção à poesia de Marília Garcia. / [en] Proposing a reading of the essayistic trait in the work of Brazilian poet Marília Garcia, this thesis presents an investigation around what we named friendship of forms between poetry and philosophy. Marília Garcia has produced a work that can be considered, in itself, experimental and deviant: it deviates from the poem by producing discursive objects pregnant with investigative mechanisms, while also deviating from the essay by inserting, in speculation and theory, procedures that are not only creative but affective. Consisting of three writing movements, entitled Questions, Images and Form, in the first part of the thesis, centrality is given to the book Um teste de resistores (2014) through the analysis of its opening poem, Blind light. At stake in this movement is the displacement of the places traditionally attributed to the poet and the philosopher in the participation (or not) in the strange land of knowledge, to use Walter Benjamin s expression. In the second movement, starting from the poet s own assertion that images help her to think, we focus our reading on the use of technical images in Parque das ruínas, a poem-essay that titles Marília Garcia s eponymous book, published in 2018. In the third movement, which deals with the poem-essay as form, centrality is given to the text O poema no tubo de ensaio, published both in the critical anthology Sobre poesia: outras vozes (2016) and in the author s book Parque das ruínas(2018), and the history of its versions. Throughout, he work dialogues with Giorgio Agamben s proposition on the consolidation of the social position of philosophy as a discursive form through the establishment of a relationship of enmity with poetry. We propose to think of this split, which marks the West, in terms of its undoing, supported by the emergence of the first romantic idea of criticism and the theories of the essay. One possible way of realizing the proposition of a friendship of forms seems to rest in the poem-essay, hence the driving force that impels us towards Marília Garcia s poetry through the analysis of three of her poem-essays.

Il genere del cosiddetto “poema sacro” fu uno dei più frequentati nella letteratura italiana tra il XVI e il XVIII secolo, ma le opere afferenti a questa categoria letteraria sono state a lungo ignorate dai critici. La mia ricerca si propone di studiare una sezione limitata di tale enorme produzione, ossia le opere in volgare pubblicate nel Ducato di Milano, coprendo un arco temporale che va dal 1566 al 1706. Sulla base di una rigorosa analisi dei componimenti, spesso poco studiati o del tutto sconosciuti, questo lavoro intende delineare le peculiari declinazioni dell'epica sacra nella realtà milanese, fortemente influenzata dall'indirizzo culturale proposto da Carlo e Federico Borromeo. Gli autori dei poemi considerati sono Sisto Poncello, Giovanni Maria Paroli, Cesare Della Porta, Ettore Colombo, Annibale Guasco, Giacomo Turamini, Antonio da Brugnato, Bernardino Baldi, Antonio Biaguazzone, Giulio Fe', Lelio Guidiccioni, Ambrogio Ferro, Francesco Antonio Tomasi, Francesco Pallavicini, Stefano Rossi, Giacinto Faggi, Giuseppe De Maltraversi, Pietro Paolo Giletti, Alessandro Ghirardelli, Basilio Bertucci. / The so-called “sacred poem” was one of the most successful genres of the Italian literature between the 16th and the 18th century, but the works belonging to this category have usually been ignored by critics. My research aims at studying a limited part of this enormous literary production, considering the vernacular poems published in the Duchy of Milan between 1566 and 1706. On the basis of a meticulous analysis of the texts, often scarcely studied or completely unknown, I intend to determine the features of the sacred epic in the Milanese environment, which was strongly influenced by the cultural policy promoted by Carlo and Federico Borromeo. The authors of the poems are Sisto Poncello, Giovanni Maria Paroli, Cesare Della Porta, Ettore Colombo, Annibale Guasco, Giacomo Turamini, Antonio da Brugnato, Bernardino Baldi, Antonio Biaguazzone, Giulio Fe', Lelio Guidiccioni, Ambrogio Ferro, Francesco Antonio Tomasi, Francesco Pallavicini, Stefano Rossi, Giacinto Faggi, Giuseppe De Maltraversi, Pietro Paolo Giletti, Alessandro Ghirardelli, Basilio Bertucci.

第一章緒論：介紹研究主要內容與範圍。 第二章生平：先簡述家世及生平，討論蘇軾及蘇門四學士等主要交遊，後由詩文來看 其為人。 第三章詩之淵源與思想：因是文學的傳統，如何表現出作家的思想，故可了解作家創 作背景及基礎，更可認識其寫作動機與目的。 第四章技法：由「標新好可」的詩風來深入探討「奪胎換骨」、「拗體」等技法，可 了解其詩形式上的特色及成就。 第五章對後世之影響：先簡述「江西派」之影響，再討論傳播於韓國詩壇之影響，可 知山谷詩在詩歌上的及其地位。 第六章結論：將五章中所討論的研究成果，加以歸納。