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The poems in this collection are, in a sense, experiments in the employment of voice, wordplay and mythopoetic structures. The purpose, in so much as this collection can be said to have a purpose, is to celebrate the alienation and absurdity common to modern day life by depicting and dramatizing their connection with the culture we have inherited from classical tradition.

A poetry thesis exploring subjects of gender identity, sexuality, socialization, writing, and craft, and including a preface that credits Emily Dickinson and Adrienne Rich as primary influences. One-third of the manuscript features epistolary prose poems in conversation with Dickinson, while the remaining portion contains poetry written in either free verse, traditional poetic form, or field composition.

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O presente trabalho propõe uma tradução integral e anotada da obra epigramática do poeta latino Marcos Valério Marcial (c. 40 - c. 105 d.C.). Para tanto, propõe um modelo de compreensão do texto que envolve sua análise desde as camadas pré-textuais, como a constituição do gênero praticado pelo autor ou a obra de seus modelos, passando por um recenseamento dos leitores para chegar finalmente a um modelo sistematizado de tradução poética e de ferramentas de suporte à leitura / This paper proposes a complete and annotated translation of the epigrammatic work of the Latin poet Martial (c. 40 - c. 105 AD). To achieve it, a model of text comprehension is suggested, involving the analysis from the pre-textual layers, such as the constitution of the genre practiced by the author or the poets he uses as models, through a census of the readers to finally get to systematized models for the poetical translation and the reading tools

A presente dissertação toma como propósito as obras poéticas de Ricardo Reis e de Paul Celan, acentuando a sua tarefa de originar uma poesia de risco, que experiencia a linguagem e a ameaça. Nesse sentido, a pesquisa desenvolvida reconhece a singularidade da leitura imposta pelos poemas. Tal fato estabelece algumas especificidades da leitura, sem pretender com elas decifrar qualquer conteúdo nos poemas escolhidos. Dessa maneira, esse trabalho recolhe, coleciona e elege premissas de compreensão derivadas de outros ambientes literários. Assim, a hipótese fundamental sustentada ao longo da dissertação expõe o próprio desempenho da leitura como exercício de escrita, sem recorrência a qualquer facilidade contextual, historicista ou formalista; ou melhor: o que é ler Ricardo Reis pós Paul Celan, tomando como elemento básico a própria experiência de risco da leitura / The present dissertation takes as purpose Ricardo Reis and Paul Celans poetic works, emphasizing their task of originating a poetry of risk, which experiences and threatens language. In this sense, the research developed acknowledges the singularity of the reading imposed by the poems. This fact establishes some specificities of reading, which do not intend to decipher any content in the chosen poems. In this way, this work guards, collects and elects premises of comprehension derived from other literary environments. Thus, the fundamental hypothesis sustained throughout the dissertation exposes reading execution itself as exercise of writing, without recurring to any contextual, historicist or formalist easeness; better: what is to read Ricardo Reis after Paul Celan, taking as basic element the risk experience of reading

Les lecteurs de Victor Hugo s'accordent à penser qu'il est un regardeur. Mais de quel regardeur s'agit-il ? Pour ce poète qui voyage, l'action de voir constitue, plus qu'un goût, un principe esthétique et poétique. Si Hugo s'attache à un beau paysage, c'est en vue d'en faire resurgir ce qui, tout en échappant au regard, prend la forme d'une pensée. Pour le dire autrement, le réel visible est, pour lui, tant régi par la Vérité cachée qu'il ne cesse de mettre en jeu l'existence du sujet. L'évocation d'un paysage est en ce sens la véritable pierre de touche du sujet : le paysage représente, comme inévitablement, le moi qui essaie de participer aux réseaux de l'univers. C'est pourquoi notre étude avait pour objet en particulier les paysages du voyage et de la poésie, afin d'examiner un moi et des moi intertextuels chez Hugo. La relative rareté des études sur le je en voyageur s'explique par une tradition critique qui le considère comme une incarnation immédiate d'un moi unique de l'auteur. Toutefois, on ne saurait trop souligner que, malgré les apparences, le je dans les textes de voyage est protéiforme non moins que le je poétique. Cette thèse dont les réflexions s'articulent autour des regards hugoliens vise ainsi à montrer la complexité du moi de Hugo, et à apporter une lumière nouvelle sur ses poèmes lyriques / Victor Hugo's readers agree that he is a viewer. But what viewer is it? For this poet who travels, the action of seeing constitutes, more than a fondness, an aesthetic and poetic practice. If Hugo attaches to a beautiful landscape, it is in order to bring out the truth escaping the gaze. To put it another way, the visible reality is, for him, so governed by the hidden truth that it emphasise the existence of the subject. The evocation of a landscape is in this sense the true touchstone of the subject: the landscape represents, as inevitably, the ego that tries to participate in the principle of the universe. This is why our study was particularly concerned with landscapes of travel and poetry, in order to examine an ego or egos intertextual in Hugo. The relative rarity of the studies on the traveler is explained by a critical tradition which considers him an simple embodiment of an ego of the author. However, it can not be over-emphasized that, in spite of appearances, the I in the travel texts is protean no less than the poetic I. This thesis whose reflections are articulated around the Hugo's landscapes aims thus to show the complexity of the ego of Hugo, and to bring a new light on his lyrical poems

Yeats and Eliot merit comparison because they wrote poetry that has been described as apocalyptic in the same historical period and in the same general geographic area but described entirely different visions. These particular works of Yeats and Eliot are appropriate because they represent two widely varying viewpoints on the causes, nature and desirability of what each author felt would be the coming apocalypse. Therefore, more can be learned by comparing the very different outlooks of the poems than by considering each poem separately. Yeats sees humanity as both the victim and the beneficiary of a series of inescapable historical cycles. He views the destructive pressures on civilization as coming from an outside agency. Yeats continues this theme in many of his poems, such as "Lapis Lazuli": "All things fall and are built again, / And those that build them again are gay," as well as other works (Yeats, Collected 291, l. 35-36). On the other hand, Eliot feels that the imminent apocalypse was a result of the decadence of civilization, a direct result of humankind's rejection of the God of the Anglican faith, a failure that implies a more personal responsibility. Since Eliot's view implies freedom of choice, he found that humanity held the ultimate responsibility for its own salvation or desolation. Eliot differs from Yeats in that he describes an entirely internal, spiritual destruction. In this paper, I examine Yeats' "The Second Coming" and Eliot's "The Hollow Men" as examples of completely different visions of the near future, demonstrating the need for a more adequate definition of the term "apocalyptic poetry." While two poems are much too small a sample for such a broadly based project, my study will point the way to a possible reassessment of the perhaps overly broad application of the term "apocalyptic poetry."

Poetry in music is the main discussion in this essay. There are three ways to connect music and poem. First, represent the emotion of poems through music; second, parallel the syllables and linguistic intonation to rhythm and pitches; third, transform the methods of writing poems into the methods of composing music. ¡§Remember¡¨ and ¡§The Magic Carousal¡¨ are used as examples in this essay. In ¡§Remember,¡¨ the composer semantically transfers the poetry into his/her music by directly borrowing and engaging the linguistic syntax and formal construction into musical composition. Such method is based on the eight different techniques mentioned in ¡§Looming Imagery,¡¨ a chapter from Yong Wu Huang¡¦s Design of Chinese Poetry, as a means to create musical structures. ¡§The Magic Carousal¡¨ adopts the application of musical tone-painting. A composer creates a tone-poem that expresses the poetic imagery and atmosphere. Based on the concept of musical rhetoric, the words are assigned with particular musical contour or gesture that illustrates the poem even more comprehensively.

Community, Boundary and Identity: The House Image in Robert Frost