A Poética Multifacetada de Jerome Rothenberg investiga o modo operacional da poética de Jerome Rothenberg (1931). Nascido em Nova York, em 1931, Rothenberg fez parte de uma geração intermediária entre movimentos poéticos bastante conhecidos de público e crítica: a poesia beatnik dos anos 1950 e 1960 e a language poetry do início da década de 1970. Junto com o poeta Robert Kelly, Rothenberg concebe a deep image nos anos 1960, movimento de curta duração, mas essencial para seu desenvolvimento poético. Rothenberg é conhecido principalmente por ter criado o termo etnopoesia e por seus experimentos com o que chamou tradução total, ao traduzir a poesia indígena norteamericana. A tradução total foi um método inovador de considerar a musicalidade, a presença de distorções de palavras ou palavras sem sentido, e outros mecanismos poéticos das artes verbais indígenas como parte integrante da composição. Dessa forma, o resultado da tradução deveria necessariamente contemplar todos esses aspectos. A partir de seu dito o primitivo é complexo Rothenberg passa a considerar aspectos poéticos da produção oriunda de culturas orais, ditas primitivas, como a base de seu conceito de etnopoesia. Sua busca pelo primitivo também o conecta diretamente com outros autores lidos como experimentais na poesia, de William Blake e Walt Whitman a Allen Ginsberg, passando por uma tríade modernista: Ezra Pound, William Carlos Williams e Gertrude Stein. A hipótese desta tese é demonstrar que o impulso etnopoético, aparentemente restrito ao seu trabalho como antologista e suas traduções, na realidade é mais abrangente e inclui sua própria produção poética. A etnopoesia se torna o conceito pelo qual podemos ler o seu retorno à sua ancestralidade judaica e seus poemas que tratam de temas como a vida dos judeus na Polônia dos anos 1930, a tradição mística da cabala e o Holocausto. A tese aborda também questões como inserção no meio poético, autoria, influência e originalidade / The Multifaceted Poetry of Jerome Rothenberg deals with the methods applied by Jerome Rothenbergs poetics. Born in New York, in 1931, Rothenberg was part of a generation in between well known poetic movements: the beatnik poetry from the 1950s e 1960s and the language poetry of the 1970s. With fellow poet Robert Kelly, Rothenberg starts the deep image in the 1960, a short-lived movement, yet an essential one for his poetic development. Rothenberg is better known for having coined the term etnopoetry and for his experimentations with what he called total translation, while working with North-American Indian poetry. Total translation was an innovative method in considering musicality, the presence of word distortions or meaningless words and other poetic mechanisms of Indian poetry as an integral part of a poem or song, so that the resultant translation would necessarily contemplate all these aspects. From the perspective of his saying primitive is complex, Rothenberg starts considering the characteristics of poetry from oral culture, or those called primitive, as the basis for his concept of an etnopoetics. His search for the primitive also connects him with authors read as experimental in poetry, from William Blake and Walt Whitman to Allen Ginsberg, passing through the modernist triad Ezra Pound, William Carlos Williams and Gertrude Stein. The hypothesis of this thesis is to show how the etnopoetic impulse, apparently restricted to his work as anthologist and translator, is, in reality, much more broad in its spectrum and includes his own poetic production. Etnopoetry then becomes the concept we can use to read his return to his Jewish ancestrality and the poems dealing with topics such as the life of Jews in Poland in the 1930s, the mystical kabbalah and the Holocaust. This thesis also shows his insertion in the poetic scene, and debates questions like authorship, influence, and originality

Orientador: Eric Mitchell Sabinson / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-17T13:33:55Z (GMT). No. of bitstreams: 1 Franca_Vinicius_M.pdf: 830422 bytes, checksum: 184da193dee6256dc981c95090399492 (MD5) Previous issue date: 2011 / Resumo: O objetivo desta dissertação foi estudar a obra do poeta Philip Levine (1928- ). A partir de uma caracterização da poesia de Levine, que é tido como um dos mais importantes poetas em atividade nos E.U.A., foi estabelecida uma antologia traduzida e comentada de seus poemas. Para tanto, em um primeiro momento, buscou-se apontar os rumos que a poesia norte-americana tomou a partir de 1945. Em seguida, com o auxílio da leitura da crítica especializada, foi elaborada uma discussão do lugar que a obra de Levine ocupa na poesia norte-americana do pós-guerra, com o intuito de caracterizar e estabelecer um corpus representativo de sua produção poética, a partir de seus três primeiros livros que foram publicados entre 1963 e 1974 / Abstract: The goal of this thesis was to study the work of poet Philip Levine (1928- ). From a characterization of Levine?s poetry, who is regarded as one of the most important poets in activity in the U.S., a translated and annotated anthology of his poems was established. The direction that American poetry has taken since 1945 is described. After presenting a reading of the relevant criticism, we discuss Levine's place in postwar American poetry in order to characterize and establish a representative corpus of his poetry from his first three books, which were published between 1963 and 1974 / Mestrado / Teoria e Critica Literaria / Mentre em Teoria e História Literária

Unindo crítica cultural à pesquisa acadêmica, pretendemos mapear a poesia de Patti Smith e Ana Cristina Cesar, partindo de seus respectivos contextos da década de 1970 o movimento punk nova-iorquino, nos Estados Unidos, e a poesia marginal, no Brasil , para então explorar seus pontos de convergência, no que tange a uma micropolítica do feminino e a uma estética de confrontamento. Pensamos ambas as poetas como cartógrafas de uma época e das transformações intrínsecas a essa época, mapeadas por elas no fazer poético, no corpo da linguagem, por meio de uma política-estética; por elas somos levados à política como estética; à política menor, do eu mínimo, de Deleuze, em caráter contingente, de subjetividade e feminilidade. Discutimos também como, a voz do feminino localizado em Patti e Ana C. dá vazão à abertura de um novo tipo de experimentalismo que se integra a uma genealogia de arte/cultura e ao legado da poesia moderna travando diálogo com elementos catalisadores do pós-moderno que desembocariam no contemporâneo. / By merging cultural criticism and academic research, we aim to rummage the poetic works of Patti Smith and Ana Cristina Cesar, starting from their respective contexts in the 1970s the New York punk scene in the United States, and marginal poetry in Brazil , and on to explore their points of convergence within the micropolitics of the feminine and an aesthetics of confrontation. The two poets are taken as cartographers of a time and of the changes that are intrinsic to that time, which they chart on the making of poetry, on the body of language, by means of a politics-aesthetics. We are led to politics as aesthetics a politics of what is contingent, of subjectivity and of femaleness; Deleuzes minor politics, or politics of the minimal self. We will also discuss how, in the voices of the feminine (further than that of feminism) that underpin their poetics/aesthetics, a new kind of experimentalism opens up within a genealogy of art and culture and the legacy of modern poets thus engaging in a dialogue with a small/minor History, with the microsphere, the outsider, and disruption; unfoldings of nascent notions of the post-modern and the contemporary.

Poems to the Sea: Rather than narrating or describing a work of visual art, the poems that form this collection show an accumulation, juxtaposition and realignment of material ranging from art historical detail and critique to a more personal, location specific response to works viewed in galleries and museums. Many of the poems engage with non-representational artworks and question how best to reflect, translate or expand upon their transformative effects. The first section, ‘Museum Notes’, explores Charles Olson’s open field poetics by giving artists and writers a conversational voice. ‘Sound Fields’, the second section, responds to individual works of art and reflects a systems-based approach. The authorial voice within ‘Poems to the Sea’, the third section, is that of an artist involved in making a series of palimpsest drawings to capture a sense of place as drawing and writing overlaps and intertwines. Painterly Poetics: Charles Olson, Robert Creeley, Cole Swensen: This thesis explores three American poets from successive generations to examine three related types of engagement with visual art. As literary models that have informed my own poetic practice, Charles Olson, Robert Creeley and Cole Swensen have theorized their own writing process to consider ways of using language to enhance the transmission and transcription of their visual stimuli and ideas. All three are interested in visual art as a model for the writing process: as a means of seeing, thinking and perceiving. After an introduction that surveys relations between verbal and visual art, a chapter is devoted to each of the three poets. In the opening and longest chapter, examples of Olson’s writing are compared to the approach of several Abstract Expressionist painters who contributed to the culture of experimentation and spontaneity that emerged under Olson’s leadership at Black Mountain College in the early 1950s. Following a discussion of Olson as a uniquely influential figure, the chapter on Creeley considers the role of visual art in his poetics. Swensen’s writing is subsequently explored for its extension of the Black Mountain legacy: how she builds upon established critical methods to achieve what she calls ‘a side-by-side, walking-along-with’ relationship between the poem and the artwork.

(in English): The diploma's thesis deals with the natural theme in the work of Argentine poet Alfonsina Storni. The first part briefly outlines her biography. Following theoretical chapter presents several literary movements of which the writer is considered to be part of: modernism, postmodernism and avant-garde. Among others the work refers to the distinctive position of the author in the Hispano-american poetry. The main part consists of the analyses of several poems of Alfonsina Storni, chosen from her work according to the selected topics. Primarily, the element of the sea, the earth and the sky are being analyzed, after that the elements of fauna and flora are interpreted. The analyses are oriented not only on the content and meaning of the poems but also on the formal part in which the shift of author's style is noticeable. The final part of the thesis briefly introduces other topics which are related with the author's writing. The whole work is based primarily on the author's works, followed by theoretical studies related to the era and also on two biographies and several interpretations of the particular works. Since there has not been yet published any translation of Alfonsina's Storni work, an attachment of this thesis consists of translations of several selected poems.

No description available.

Elizabeth Bishop (1911–1979), one of the foremost modern American poets, lived in Brasil during seventeen-odd years beginning in 1951. During this time she composed the poetry collection Questions of Travel, stand-alone poems, and fragments as well as prose pieces and translations. This study builds on the work of critics such as Brett Millier and Lorrie Goldensohn who have covered Bishop’s poetry during her Brasil years. However, most American critics have lacked expertise in both Brasilian culture and the Portuguese language that influenced Bishop’s poetry. Since 2000, in contrast, Brasilian critic Paulo Henriques Britto has explored issues of translating Bishop’s poetry into Portuguese, while Maria Lúcia Martins and Regina Przybycien have examined Bishop’s Brasil poems from a Brasilian perspective. However, American and Brasilian scholars have yet to recognize Bishop’s journey of acculturation as displayed through her poetry chronologically or the importance of her belated reception by Brasilian literary and popular culture. This study argues that Bishop’s Brasil poetry reveals her gradual transformation from a tourist outsider to a cultural insider through her encounters with Brasilian history, culture, language, and politics. It encompasses Bishop’s published and unpublished Brasil poetry, including drafts from the Elizabeth Bishop Papers at Vassar College. On a secondary level, this study examines a reverse acculturation in how Brasilian popular and literary communities have increasingly focused on Bishop since her death, culminating in the 2013 film, Flores Raras (Reaching for the Moon in English). Understanding this extremely rare and sustained intercultural junction of Bishop in Brasil, a junction that no American poet has made since, adds a crucial angle to twentieth-first century transnational literary perspectives.

This study explores the profound influence of the South on the poetry of Robert Penn Warren and creates an oral interpretation lecture-recital script illustrating this influences. The study shows Warren's poetry to be worthy of consideration. The study also defines oral interpretation, lecture recital, and poet-centered programs. Included with a biographical sketch of Warren is a chronological listing of works and events in his life. There are discussions of several poems which illustrate the influence of the Southern landscape and several which show the influence of the Southern people. The forty-five minute lecture-recital script is included as an appendix,

Five Kingdoms. (Under the direction of Don Stap.) Five Kingdoms is a collection of 55 poems in three sections. The title refers to the five kingdoms of life, encompassing every living thing. Section I explores political themes and addresses subjects that reach across a broad expanse of time--from the oldest bones of a child and the oldest map of the world to the bombing of Fallujah in the current Iraq war. Connections between physical and metaphysical worlds are examined. The focus narrows from the world to the city in section II. The theme of shelter is important to these poems, as is the act of being a flâneur. The search for shelter, physical and spiritual, is explored. The third section of Five Kingdoms narrows further to the individual. Political themes recur, as do ekphrastic elements, in the examination of individual lives and the search for physical and metaphysical shelter. The title poem "Five Kingdoms," was written on the 60th anniversary of the atomic bombing of Hiroshima on August 6, 1945. This non-narrative poem is composed of a series of questions for the reader regarding personal and national security. It is a political poem that uses a language of fear and superstition to question what we are willing to sacrifice to be safe and what "safety" means. The poem ends with a call to action: "Before you break in two, categorize/the five kingdoms, count all the living things." The poems in this manuscript are a kind of counting that pays attention to the things of the world through praise and elegy. The poems in Five Kingdoms are indebted to my reading of many poets, in particular Michael Burkard, Carolyn Forché, Brenda Hillman, Tony Hoagland, Kenneth Koch, Philip Levine, Denise Levertov, Jane Mead, W.S. Merwin, Pablo Neruda, Frank O'Hara, Mary Oliver, Adrienne Rich, and Mark Strand.

This dissertation discusses the way in which mid-20th century American female poets Elizabeth Bishop, Anne Sexton, and Gwendolyn Brooks addressed anxieties around seeking, keeping, and surviving home spaces while incorporating elements of formal poetic structure (including metre, stanzaic configurations, and rhyme). Susan Fraiman, in Extreme Domesticity: A View from the Margins, suggests that domestic space and practice can become sites of improvisation, rebellion, and refuge. Building on this theory, I show how form and domestic subject matter can interact to signify active responses to trauma resulting from childhood abandonment, physical/sexual abuse, homophobia, madness, and systemic racism. I argue that poetic form at its most effective does not function as an homage to either patriarchal canonical models of restraint or craftspersonship but animates the work from the inside out and effectively creates poem-spaces that are metaphorical “homes” rather than “houses”.   My work adds to the fields of American poetry and prosodic scholarship by incorporating close reading techniques that neither follow New Criticism mandates that privilege authorial choice/structural integrity over biographical and sociopolitical resonances nor assign specific meaning to how form is used. Instead, this project encourages readers, students of poetry, and practitioners to rethink how formal structures in poetic work can emerge from and engage with the highly personal and how the implementation of formal technique can potentially offer shelter and a means of articulating trauma and resistance whilst extending into the public sphere (either thematically or through the vehicle of performance) to offer intimacy and forge community. / Dissertation / Doctor of Philosophy (PhD) / The mid-20th century American female poets Elizabeth Bishop, Anne Sexton, and Gwendolyn Brooks addressed anxieties around seeking, keeping, and surviving home spaces while incorporating elements of poetic form (including metre, stanzas, and rhyme). I show how form and domestic subject matter can interact to signify active responses to trauma resulting from childhood abandonment, physical/sexual abuse, homophobia, madness, and systemic racism. I argue that form at its most effective should be neither a “container”—a “house” of words—nor a sign that the poet is conservative and/or old-fashioned. Rather, I invite my readers to consider the formal poem as a potential “home” in which the structure becomes an extension of the inner personal forces that animate it, helping it to offer shelter and a means of resistance to the writer and reader/listener, as well as forge connections in the public sphere, both thematically and in performance.