This thesis suggests that the idea of the rhetorical situation-a work's text (or language), author, audience, and social context-can serve as a connection between literature, literary theory, and composition studies. Criticisms of Emily Dickinson's Poem 754 are presented, and each is categorized according to the element of the rhetorical situation upon which it focuses.

La Vengeance Nostre Seigneur est une chanson de geste écrite vers 1200 qui raconte la destruction de Jérusalem en 70 de notre ère par Vespasien et Titus comme une vengeance pour la Crucifixion. Elle nous est parvenue dans dix manuscrits, tous des recueils, étant donné sa relative brièveté (1200 à 3400 vers, selon les rédactions). Or, ce texte adopte un comportement particulier dans certains des manuscrits qui le conservent : le récit de la vengeance du Christ bourgeonne dans d’autres textes où l’on n’attendrait pas sa manifestation. L’objectif de cette étude est double : comprendre comment est pensé, conçu et construit le recueil médiéval d’une part, à partir du recueil de Paris, BnF, fr. 1553 ; d’autre part, il s’agira d’évaluer le rôle que la Vengeance Nostre Seigneur peut jouer dans la composition des manuscrits qui l’hébergent. Après l’analyse du recueil du Moyen Âge central en général et du recueil de Paris, BnF, fr. 1553 en particulier, l’étude se concentrera sur la Vengeance Nostre Seigneur afin de la situer dans le paysage littéraire médiéval (étude des sources, analyse générique, contexte de circulation). Il s’agira de comprendre la place qu’elle occupe dans le manuscrit de Paris, BnF, fr. 1553 et de saisir le phénomène de rayonnement qui surgit dans ce recueil. Le rôle de la Vengeance dans deux autres manuscrits qui, bien que fort différents, occupent une place importante dans la tradition, le recueil de Paris, BnF, fr. 1374 et le recueil de Turin, BNU, L.II.14, sera ensuite étudié, notamment en ce qui a trait au rayonnement de la légende. Enfin, les trois copies du texte seront comparées afin de déterminer dans quelle mesure ces trois rédactions représentent précisément le même récit. / The Vengeance Nostre Seigneur is an epic poem written around 1200 which depicts Jerusalem’s destruction in 70 AD by Vespasian and Titus as a vengeance for the Crucifixion. It is now known in ten manuscripts, all of them miscellanies, given its relative brevity (1200 to 3400 verses, depending on the redaction). This text has a peculiar behavior in some of the manuscripts where it is kept: the story of Christ’s vengeance appears in other texts in which we would not expect its manifestation. The purpose of this study is twofold: on one hand, to understand how the medieval collection is thought, built and conceived, from the manuscript of Paris, BnF, fr. 1553; and on the other hand, to evaluate the role the Vengeance Nostre Seigneur played in the composition of the manuscripts that hosts it. After analysing the medieval miscellany in general, and more specifically the Paris, BnF, fr. 1553 collection, the study will focus on the Vengeance Nostre Seigneur to position it on the medieval literary scene (study of the sources, generic analysis, circulation context). The goal will be to demonstrate the role it played in the Paris, BnF, fr. 1553 manuscript and to understand the phenomenon of unexpected presence of the legend in other texts of this collection. There will then be a study of the same phenomenon in two very different manuscripts that both occupy an important place in the tradition; the manuscripts of Paris, BnF, fr. 1374 and Turin, BNU, L.II.14. Finally, the three copies of the text will be compared to determine if these three redactions represent precisely the same story.

Se Enkhbayar (b. 1956) is one of the most important contemporary Mongolian composers in China. His choral tone poem, Önchin Botog, integrates the traditional Mongolian musical elements Urtiin Duu (long song) and Khöömii (throat singing) with modern choral music and is one of the most representative works in the genre of modern Mongolian choral music. The purpose of this study is to provide a performance guidance for non-Mongolian musicians on Se Enkhbayar's work, Önchin Botog, by presenting his biographical and cultural backgrounds, discussing the use of traditional Mongolian singing styles, special rhythmic patterns (horse-step rhythm) and Chinese pentatonic scales. For conductors, this guide can shorten preparation time by providing musical analysis for artistic interpretation and practical points for sound effect creation. For solo singers, this guide will enable a Bel Canto singer to sing Urtiin Duu in Mongolian singing style. For Khöömii singers, this guide provides supplementary practical suggestions.

Cette thèse porte sur les codes sémantiques chez Ounsi el-Hajj et Georges Jurdaq en comparant leurs écrits entre le journalisme et la littérature. La thèse traite le rôle de la presse dans la propagation du symbole et du symbolisme dans le mouvement de la littérature. Ounsi el-Hajj et Georges Jurdaq se sont servi et ont profité de la presse pour pouvoir investir les symboles dans leurs essais. Ces symboles deviennent des moyens pour exprimer des intentions de traiter l’histoire, la religion, le mythe et le patrimoine. La thèse aborde les symboles et leurs significations chez les deux écrivains-journalistes ; le symbolisme ne se limite plus à la poésie uniquement en raison de l'ambiguïté qu’il entretient mais il la dépasse pour atteindre la littérature et en particulier la littérature de l’essai. / This thesis deals with the semantic codes used by Ounsi el-Hajj and Georges Jurdaq and it compares their writings between journalism and literature. The thesis deals with the influence of the press in the propagation of symbolism in the movement of literature. Ounsi el-Hajj and Goerges Jurdaq took advantage of the press to be able to invest symbols in their essays. These symbols become means of expressing intentions to deal with history, religion, myth and heritage. The thesis deals with the symbols and their meanings used by the two writers-journalists; symbolism is no longer restricted to poetry solely because of the ambiguity it maintains but it goes beyond it to reach literature and especially the literature of the essay.

This master's thesis deals with the analyse the poem in prose "Walled-in" by Brazilian black symbolist poet João da Cruz e Sousa. At the beginning it outlines the author's life and work. An insight into the starting points of Symbolism follows, accompanied by a detailed characterization of the essential features of its poetics as represented in the works by Cruz e Sousa. The analysis itself begins with the definition of the poem genre in prose and a brief outline of the content of the "Walled-in", which is a synthesis of the poet's artistic and life options resulting from being a black man. On this basis, I have determined the fundamental themes (Night, Art, Pain and Blackness), in which the poet's exclusion as an artist and as a negro. The initial intimate confession turns into a fiery speech that fights back narrow- minded artistic production of the period and the Negro discrimination.

This thesis seeks to explore the many possibilities that lie within the incorporation of the voice alongside playing the violin. This territory is still very unknown, and the author believes that many new artistic possibilities and tools are yet to be discovered.The attempts made seek to understand the difficulties and limitations of the incorporation of the voice, while discovering its bountiful treasures. / <p>"Terje Vigen" by Ivar BøksleArrangement by Olav Eirik LølandViolin and vocal - Olav Eirik Løland</p><p></p><p>Konserten börjar efter två minuter.</p>

This dissertation explores the use of romance across religious poetry in late medieval England. Medieval devotional poems frequently borrow motifs and devices from romance; they might, for example, figure Jesus as a knight jousting with the devil or adopt the romance technique of interlace to narrate the Passion. Critics most frequently read these borrowings as a popularizing method, arguing that the poets of these religious texts turn to romance in order to appeal to their secular audience. I argue instead that late 14th century Middle English poets use romance to explore difficult theological paradoxes and Christian practices. In Pearl, the romance descriptio personae helps articulate the paradoxes of divine reward, at once hierarchical and egalitarian. In Piers Plowman, the romance incognito demonstrates the shifting and multivalent nature of the Trinity. In St. Erkenwald, the slow indulgence of romance wonder stands in contrast to God’s time, which is simultaneously immediate and drawn-out. In the Canterbury Tales, the romance parody of Thopas primes the reader for the prudential lessons of Melibee. This dissertation adds to a growing body of scholarship that reads medieval romance, and in particular Middle English romance, as a genre that does not simply entertain audiences but also interrogates, challenges, or reiterates medieval values and ideas. However, this project adds to current scholarship by examining romance out of its native context and inside or beside religious genres instead. In the first three chapters, I argue that by triggering a romantic reading, the Middle English poems Pearl, Piers Plowman, and St. Erkenwald enact and demonstrate the conceptual difficulties of certain theological paradoxes. In these poems, romance serves as a contemplative tool by demonstrating the reader’s comprehensive limits in the face of the divine. My fourth chapter, which explores Chaucer’s romance parody Sir Thopas alongside his pedagogical treatise Melibee, instead considers the Christian virtue of prudence; here, the exaggerated romance tropes of Sir Thopas prepare the pilgrims to pay penance prudentially by feeling and contemplating time in daily Christian life. While romance does not articulate a paradox about God in Thopas-Melibee, it still prompts contemplation about a difficult Christian virtue, prudence. In all four chapters, I find that romance serves as a vehicle for spiritual contemplation because of its own modes of thinking, whether that be social, economic, or temporal. Whether romance is set within or beside devotional texts, the secular genre allows the reader to contemplate difficult Christian theology and practices and to experience them as difficult in contemplation. Romance, I argue, is a critical tool in the vernacular theologian’s toolkit.

Some time ago I came across a tiny collection of poems called Chungu tamu by Theobald Mvungi. The author was born in Mwanga province (Kilimanjaro) probably in the Fifties, as he graduated from the University of Dar es Salaam in 1975 and gained his M.Ed. degree in Nigeria (Ibadan) in 1978. He published his first collection of poems, Raha karaha, in 1982 and his third one, Mashairiya Chekacheka, in 1995. All Mwangi`s poems deal with social problems, but only those of the second collection are formally innovative. Five of the twenty poems of this collection tell a story and I am going to investigate three of them. It is striking and quite unusual in Swahili poetry to present the narration itself as another story. However, it is not the first time that it occurs in modern Swahili poetry. In fact, for instance Kezilahabi´s poem Hadithiya kitoto (from the collection Kichomi, 1974) opens with the scene of the narrator - the grandfather - sitting close to a fire with his grandchildren who want to be told a story, while roasting birds and potatoes. The last two strophes contain grandfather´s comment, i.e. a moral message. Thus the narrative act itself is represented, as it often happens in prose fiction. But whereas in Kezilahabi it only opens or frames the main story, in Mvungi the narrator´s interferences are intermingled with the main story to such an extent that in fact two parallel stories are narrated. I will call them the frame story and the main story.

Désireuse de s’affranchir d’une approche essentialiste et figée de la poésie au théâtre ainsi que d’une lecture générique, cette recherche envisage selon une méthodologie intermédiale les relations entre théâtre et poésie. En analysant un corpus témoin composé de créations textuelles et scéniques, elle montre comment la présence active de la poésie travaille le théâtre, et partant, elle les précise tous deux par leursinteractions. La première partie établit une généalogie de l’intermédialité du théâtre et de la poésie, ainsi que des liens dynamiques entre théâtre et poésie. Tout au long du XXe siècle, poésie et théâtre se sont en effet affirmés comme des "hypermédias"(Kattenbelt), mettant respectivement en jeu divers médias, tandis que plusieurs dramaturges ont développé des poésies théâtrales explorant des processus intermédiaux. Sont dégagées et analysées quatre configurations spécifiques à travers les œuvres et réflexions de Mallarmé et Maeterlinck, de Stein et Artaud, de Gauvreau et Novarina et à travers la poésie transmédiale que Cocteau développe entre théâtre et cinématographe. Consacrée au tournant des XXe et XXIe siècles, la deuxième partie élabore une approche théorique du poème théâtral, qui actualise les relations entre théâtre et poésie.Le poème théâtral constitue un dispositif intermédial qui, selon un modèle élaboré par Ortel et Rykner, articule inextricablement trois niveaux : technique, pragmatique et symbolique. Plusieurs traits précisent ce dispositif : sa radicalité dynamique, sa performativité, sa valorisation de l’écriture comme processus, et sa façon de considérer l’impossible comme moteur théâtral. Des analyses d’œuvres textuelles et scéniques de Kane, Malone, Danis, Régy et Lemoine montrent ensuite comment ce dispositif intermédial est activé et ce que le poème théâtral propose au lecteur et au spectateur comme expérience esthétique. Saisir le devenir intermédial de la poésie au théâtre permet de penser un modèle interartial placé sous le signe de l’hospitalité, où les arts, égaux, dialoguent entre eux et échangent, en faisant travailler ensemble leurshétérogénéités et leurs altérités. / In an effort to do away with an essentialist, rigid, and generic approach to poetry in dramatic works, this research looks at the relationship between poetry and drama using an intermedial methodology. By studying a sample corpus made up of textual and theatrical works, this thesis shows how the active presence of poetry is at work in theatre, thereby redefining each of the two concepts through the ways in which they interact. The first chapter traces the genealogy of intermediality within poetry and drama, and that of the dynamic connections between drama and poetry. Throughout the twentieth century, poetry and theatre have come to be seen as « hypermedia » (Kattenbelt), each of them bringing into play various types of media. Meanwhile a number of playwrights started developing dramatic poems exploring intermedialprocesses. This research identifies and analyses four distinct forms in the thought and works of Mallarmé and Maeterlinck, Stein and Artaud, Gauvreau and Novarina, through the transmedial poetry developed by Cocteau at the confines of drama and cinematography. With a focus on works from the turn of the twentieth to twenty-first century, the second chapter offers a theoretical approach to the dramatic poem, that seeks to bring an updated approach to interactions between drama and poetry. The dramatic poem is an intermedial apparatus that, in Ortel and Rykner's view, inextricably combines the technical, the pragmatic and the symbolic. This apparatus is characterised by its dynamic radicalism, its performativity, its focus on the value of writing as a process and the way in which it conceives of impossibility as a dramatic driving force. Analyses of textual and dramatic works by Kane, Malone, Danis, Régy and Lemoine suggest how intermedial apparatuses are triggered and the kind of aesthetic experience the dramatic poem offers to readers and viewers. Contemplating intermedial processes of poetry in theatre allows for the reframing of an interartial model in an inclusive, hospitable fashion, where all art forms are considered equal, engage in dialogue and exchange, and combine their differences towards a common object.

Cette étude se concentre sur l’Ecole de New York en poésie (« The New York Poets ») de la première génération (surtout John Ashbery, Frank O’Hara, Kenneth Koch, James Schuyler, et Barbara Guest) et de la second génération (surtout Bill Berkson, Alice Notley, Ted Berrigan, Eileen Myles, Anne Waldman, Ron Padgett, et Joe Brainard) – à travers la production de ces poètes (poèmes, pièces de théâtre, romans, essais, peinture-poèmes, collages, etc.). Les parallèles entre la peinture et la poésie de l’époque sont probants. Pour le poème, la peinture est à la fois un élément significatif du contexte et un facteur important d’inspiration. L’optique en examinant les textes est triple : d’abord, l’influence de l’évolution de l’art et particulièrement des stratégies des plasticiens d’avant-garde ; puis, l’influence du milieu social et du contexte des quartiers bohêmes de New York des années 1950 et 1960 ; et enfin, tout ce qui peut traduire un positionnement chez les poètes vis-à-vis de la politique et la société et le désir d’une progressivité. Ces trois facteurs s’additionnent pour s’inscrire avec une grande complexité dans les textes. / This study focusses on the poets of the New York School (« The New York Poets ») of the first generation (especially John Ashbery, Frank O’Hara, Kenneth Koch, James Schuyler, et Barbara Guest) and the second (especially Bill Berkson, Alice Notley, Ted Berrigan, Eileen Myles, Anne Waldman, Ron Padgett, et Joe Brainard) – taking into account the textual production of the poets (including poems, plays, novels, essays, poem-paintings, collages, etc.), and making a parallel study of the painting of the period, to help evoke the precise context and show relevant strands of inspiration. Works are discussed through three lenses : an idea of the evolution of art leading up to the present and particularly avant-garde artistic strategies, the influence of the social sphere including the relevance of the New York bohemia in the 1950s and 1960s, and all that conveys a sense political positioning with the desire for progress. Those three factors combine to create complexity in the texts.