Esta pesquisa consiste na tradução do Canto VI do poema didático-filosófico De rerum natura, do poeta latino Lucrécio (séc. I a.C.) e na análise de três fragmentos do canto, segundo o conceito de função poética de Roman Jakobson, o mais importante linguista do Formalismo Russo. Esta epopeia romana trata da natureza, composta toda de átomos e de vazio, segundo a doutrina do filósofo grego Epicuro (séc. III a. C.). A filosofia epicurista da natureza, sua física, tinha uma particularidade especial, o atomismo, conceito materialista que tem no De rerum natura a sua maior e melhor fonte. Assim, foi feito um apanhado sobre a vida e obra do poeta, de acordo com historiadores da literatura latina e com alguns especialistas sobre o poeta. Em seguida, elencamos os pontos importantes da trajetória científica de Jakobson e suas pesquisas intimamente relacionadas com o conceito de função poética: a fonologia, as pesquisas sobre afasia infantil (donde deriva sua revisão da metáfora e da metonímia) e sobre as funções da linguagem. Com isso, temos o conceito de função poética, seus tópicos mais importantes e exemplos de estudos de Jakobson sobre poemas de Dante, Edgar Allan Poe e Charles Baudelaire. Finalmente, são analisados fragmentos dos tópicos De tonitru (O trovão) e De fulgure (O relâmpago), seguidos da tradução em versos do Canto VI. / This research consists in the translation of Book VI of the philosophical didactic poem De rerum natura, by the Latin poet Lucretius (I century BC), and the analysis of three fragments from it, according to the concept of poetic function of Roman Jakobson, the most important linguist of Russian Formalism. This Roman epic deals with nature, all composed of atoms and empty, according to the doctrine of the Greek philosopher Epicurus (III century C). The Epicurean philosophy of nature, its physics, had a especial particularity. Atomism, a materialistic theorie that had in De rerum natura its biggest and best source. Thus, the dissertation offers a survey of the life and work of the poet according mainly to historians of Latin literature and experts of this poet. Then, we list the important points of Jakobsons scientific trajectory and the aspects of research wich are closely related to the concept of poetic function: phonology, his research on childrens aphasia and on language functions. We deal with the concept of poetic function, its most important topics and some examples of Jakobsons studies on poems by Dante, Edgar Allan Poe and Charles Baudelaire. Finally, we analyse fragments of the passages De tonitru (Thunder) and De fulgure (Lightning), followed by a poetic translation of Canto VI.

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Souvent perçu comme le poète de la « nature » par excellence, William Wordsworth serait bien plutôt celui qui a donné définitivement congé à une riche tradition descriptive, puisque les évocations du paysage sont chez lui bien plus rares que chez tous ses prédécesseurs du XVIIIe siècle. Le présent travail se propose de prêter attention à cette raréfaction, qu’on peut également voir, sur le plan de l’histoire esthétique, comme le moment d’émergence d ’une modernité abstraite. La poésie wordsworthienne, qui a pour ambition de refonder le langage et les formes poétiques par un retour à l’authenticité de la nature, apparaît indissociablement comme une rupture avec un mode essentiel de la première modernité anglaise, celui des Géorgiques. Elle prend ainsi acte de la crise de la représentation qui affecte l’optimisme du XVIIIe siècle et qui empêche désormais de voir dans le paysage la manifestation d’ un ordre providentiel. Le « romantisme » anglais est ce qui surgit au défaut de la cosmologie, pour témoigner d’une fondamentale absence au monde. Cette évolution est ici étudiée en deux temps. On s’attachera d’abord à retracer, dans son détail, la trajectoire de la poésie de jeunesse de Wordsworth et de Coleridge, pour montrer que le moment refondateur de Lyrical Ballads intervient au terme d’un épuisement des formes et de la topique qui garantissaient traditionnellement l’intelligibilité du cosmos. Et l’on abordera ensuite trois moments distincts de la maturité poétique de Wordsworth [1798, 1802, 1807], qui suggèrent que le retour de l’idéologie dans son œuvre répond intimement à l’ébranlement radical dans lequel elle trouve son inspiration. / It is remarkable that Wordsworth should still be seen as the quintessential nature poet, when his poetry actually marks the demise of a well-established descriptive tradition in 18th-century English literature: depictions of landscape are much shorter and much less frequent in Wordsworth than in any of his predecessors. The present dissertation explores this paradox, a paradox which in historical and aesthetic terms could be read as heralding a « modern » shift towards abstraction. Wordsworth’s attempt to regenerate the forms and language of poetry through a recovery of « natural » authenticity amounts to a break with the Georgic mode crucial to English early modernity. It stems from the crisis in representation which attended the darkening of 18th-century optimism and meant that landscape could no longer be perceived as evidence of an immanent world-order. Romanticism in Wordsworth registers the default of cosmological discourse. I have tried to analyse this break in a twofold manner. The first part of this dissertation attempts to retrace, through close readings of Wordsworth’s and Coleridge’s early poetry, the gradual exhaustion of shared or conventional forms and meanings which led to the foundational moment of Lyrical Ballads. The second part, on the other hand, is concerned with Wordsworth’s subsequent evolution and attempts to chart it from three distinct moments [1798, 1802, 1807], suggesting that the poet’s increasing reliance on a conservative ideology is intimately bound up with the earlier, more radical aspects of his work.

Ce travail porte sur les origines et les évolutions du conte merveilleux et de sapoétique, à travers l’étude privilégiée de la métamorphose. Le genre, issu de lalittérature orale, se caractérise en effet par une histoire littéraire tout particulièrement faite de transformations, de récritures et d’appropriations diverses, au gré du changement des mentalités, d’un élargissement des modes de diffusion et d’une ouverture aux littératures étrangères. En outre, les transpositions du conte à d’autres domaines que celui de l’écrit, tels que l’image et la scène, participent de l’évolution d’une poétique merveilleuse qui se définit en premier lieu comme poétique démonstration. Dans cette perspective, un deuxième versant de notre travail s’intéresse à la manière dont le cinéma – en prise de vues réelles et, surtout, d’animation (graphique) – a pu s’emparer du conte dès le tournant du XXe siècle, et met en lumière un certain nombre d’apports figuratifs (relevant principalement de la métamorphose et d’un jeu sur le voir et le non voir) à la poétique d’un genre dont il perpétue par ailleurs la structure narrative forte. / This work retraces origins and developments of fairy tales and its poetic, focusing on the metamorphosis. The history of this literary genre, born trough oral tradition, is especially composed of numerous changes, re-writings and various appropriations,according to mentalities, development of mass dissemination methods and study of foreign literatures. In parallel, fairy tales transpositions to others non-written domains,like theatre and pictures, confirms that the fairy tales poetic is primarily pictureoriented.In this perspective, the second part of our work focuses on how cinema(through live-action images and, especially, graphically animated images) has been inspired from fairy tales since early 20th century, and highlights a couple of figurative contributions (mostly based on metamorphosis and a game between visible and non visible) to the poetic of this genre, while it also perpetuates its strong narrative structure.

What this thesis attempts to do is to render as full a picture as possible of Yeats's interest in Ben Jonson, using to the fullest advantage the many hints that come from Yeats and secondary oriticism. Specifically, the focus of this paper is on the process by which Yeats was able, like Eliot, Pound and others, to found a tough, new poetic style with reference to this seventeenth-century period of Jonson. Yeats's reading of "Jonson and the others," which took place at the turn of this century, triggered a whole series of discoveries by Yeats which anticipated the aesthetic beliefs of his famous friends in the modern movement, whose later influence upon his poetry generally fortified poetic principles which had already found their way into his work. His early plays for the Abbey Theatre, for instance, demonstrate his call for a return to the "roots" of poet ic power that Synge associated with the best plays of Jonson and Moliere, and his poetry of that period demonstrates his first attempt at finding the "passionate syntax" of Jonson, Donne, Shakespeare and others.

Comment aborder la musique de Maurice Ohana et quel sens donner à l’usage qu’il fait de la guitare dans son œuvre ? Dans cette recherche, nous tenterons de cerner en quoi la guitare tient une place si particulière et si essentielle au regard de l’ensemble de son œuvre. Elle est, en effet, porteuse de tout un univers culturel et symbolique et contribue à nourrir l’imaginaire poétique du créateur intemporel qu’est Maurice Ohana. Cet univers poétique et atavique irisé d’une arborescence d’influences est, chez le compositeur, tout à la fois une source d’inspiration et d’innovation. La guitare à dix cordes qu’il a introduite dans ses deux cycles : Si le jour paraît… et Cadran lunaire, lui permet d’opérer sur la matière sonore, un travail de création qui donne lieu à une œuvre originale dont la compréhension nécessite l’exploration d’un héritage culturel fortement imprégné du cante jondo et de la culture andalouse. Entre tradition et innovation, oralité et écriture, l’œuvre pour guitare entretient avec la matière sonore, une relation qui donne sens au processus de compréhension de l’œuvre de Maurice Ohana. / How to approach the music of Maurice Ohana and what sense should we give to the use he makes of the guitar in his work? In this research, I will try to understand how the guitar holds such a special and essential place in his work as a whole. In fact, it carries a whole cultural and symbolic universe and contributes to nourishing the poetic imagination of the timeless creator Maurice Ohana. This poetic and atavistic world of a tree of influences is, in the composer's mind, both a source of inspiration and innovation. The ten-string guitar that he introduced in his two cycles — Si le jour paraît… and Cadran lunaire — allows him to operate on the sound material (“matière sonore”), a creative work that gives rise to an original work whose understanding requires the exploration of a cultural heritage strongly imbued with cante jondo and Andalusian culture. Between tradition and innovation, orality and writing, the work for guitar has a relationship with the sound material (“matière sonore”) that gives meaning to the process of understanding of Maurice Ohana’s work.

艾略特經常被視為高蹈派的現代主義作家,他的主要任務是捍衛精英藝術的純粹性,以對抗大眾文化的入侵。這樣的看法加深現代精英藝術和通俗大眾文化之間的分野。將艾略特歸類於屬於現代精英藝術作家的陣營,簡化了其作品的深刻性。在後現代的年代中, 精英藝術和大眾文化之間的分野逐漸糢糊。採後現代主義的觀點來閱讀艾略特的作品,批評家發現艾略特熱愛大眾文化的一面。跟隨前人研究的腳步,本論文主要工作之一,即是探討艾略特兩部詩劇--史威尼論爭與家園重聚中大眾文化的成份。 巴赫汀是二十世紀重要的文學理論及評論家。對於文學中,尤其是小說這個文類中,對話與嘉年華的現象的研究,論述豐富,為此派理論與批評的大師。採用他的嘉年華理論作為本論文的研究方法,目的在闡釋艾略特的作品,其實遵循了嘉年華的文類傳統。而透過艾略特的努力,此一文類傳統的語言不僅更加豐富,同時也得到新生。在本論文中,史威尼論爭與家園重聚中的多音性與嘉年華的現象為研究的主題所在。 另外,以巴赫汀對怪誕的現實主義的描述為範本,這兩部詩劇當中的市場語言,節慶的形式或醜怪的意象也予以探究。這些研究結果發現,史威尼論爭與家園重聚中大眾文化的成份,以及嘉年華的精神是不容忽視的。 Table of Contents Chinese Abstract English Abstract Abbreviations Introduction------------------------------------------------1 Chapter 1: T. S. Eliot’s Poetic Drama and M. M. Bakhtin’s Theory of Carnivaliztion-----------------------------------18 Chapter 2: Carnivalization in Sweeney Agonistes------------39 Chapter 3: Carnivalization in The Family Reunion-----------66 Conclusion-------------------------------------------------93 Bibliography-----------------------------------------------96 / T. S. Eliot is usually considered by critics as a representative of the high modernist writer whose mission is to protect the purity of high art from the contamination of the popular culture. Such an opinion is to underpin the dichotomy between high modernist art and low popular culture. By taking Eliot on the side of high modernism, critics tend to simplify the profundity of Eliot’s works. In our postmodern age, that the phenomenon of the increasing blurred boundaries between high art and popular culture is quite obvious. David Chinitz applies such a postmodern vantage point to read Eliot’s works and shows us that Eliot is a lover of popular culture. Following Chinitz’s study, I intend to examine the elements of popular culture in Eliot’s two poetic drama – Sweeney Agonistes and The Family Reunion. M. M. Bakhtin is an important theorist and literary critic in the twentieth century. His achievement on the theories of dialogism and carnivalization is significant. Applying his theory of carnivalization to read Sweeney Agonistes and The Family Reunion, I hope to argue that Eliot, be it consciously or unconsciously, follows the genre tradition of carnivalization. Moreover, he enriches and perfects the language of this genre tradition and thus makes this genre tradition reborn and renewed. In this thesis, I argue that Sweeney Agonistes and The Family Reunion are constructed under the principles of polyphony and carnivalization. Besides, based on the material bodily principle of grotesque realism, an analysis of the grotesque elements in these two works, such as marketplace languages, or popular-festive forms and images, or banquet images or images of bodily low stratum, is given in this thesis. To a conclusion, through this Bakhtinian reading, the elements of popular culture and the carnivalistic spirits in Sweeney Agonistes and The Family Reunion are revealed.

The objective of this study was to investigate the dynamics in the athlete-coach relationship in the course of athletic career, from the perspective of one individual sport athlete and one team sport athlete. The study tried to answer the following questions: (1) How one team sport athlete and one individual sport athlete perceive the athlete-coach relationships at different stages of the athletic career? (2) How the athlete-coach relationships change in the course of the athletic career from the perspective of a team sport athlete and an individual sport athlete? (3) How athletes perceive the characteristics of their most influential coaches? As theoretical frameworks the 3+1Cs conceptualization of coach-athlete relationship (Jowett, 2007), the multidimensional model of leadership (Chelladurai, 1990), and the developmental model on transitions faced by athletes (Wylleman & Lavallee, 2004) were used. In-depth narrative interviews were used. One team sport athlete and one individual sport athlete that had been active in their sport for at least 10 years were interviewed. Four analyses were made: sjuzet-fabula analysis, holistic-content analysis, categorical-content analysis, and critical narrative analysis. Poetic representations were used to present parts of the results. The results show that the athletes perceive their relationship to their coach differently in different stages of their career. They perceived the athlete-coach relationship as dynamic in structure. Finally their most influential coach could be found in the developmental stage of their career and this coach was important to them in different ways. The results were discussed in relation to theoretical frameworks and previous research. / Syftet med denna studie var att undersöka dynamiken i relationen mellan idrottare och tränare under idrottarens karriär detta från en lagidrottare och en individuell idrottares perspektiv. Studien försökte svara på följande frågor: (1). Hur upplever en lagidrottare och en individuell idrottare relationen till tränaren under olika stadier av idrottskarriären? (2.) Hur relationen mellan tränare och idrottare förändras under idrottskarriärens gång ur en lagidrottares och en individuell idrottares perspektiv? (3). Hur upplever idrottarna deras mest inflytelserika tränares egenskaper? Som teoretisktramverk användes 3+1Cs begreppsmässighet av relationen mellan tränare och idrottare (Jowett, 2007), den multidimensionella modellen av ledarskap (Chelladurai, 1990), och utvecklingsmodellen för övergångar upplevda av idrottare (Wylleman & Lavallee, 2004). Djupgående narrativa intervjuer användes. En lagidrottare och en individuell idrottare som varit aktiv i minst 10 år intervjuades. Fyra analyser utfördes: sjuzet-fabula analys, holistisk innehållsanalys, kategorisk innehållsanalys, och kritisk narrativ analys. Poetisk representation användes för att presenterar delar av resultatet. Resultatet visade att idrottarna upplevde deras tränare olika i olika steg i deras karriär. De upplevde relationen mellan idrottare och tränare som dynamisk i sin struktur. Slutligen kunde deras mest inflytelserikaste tränare hittas i utvecklingssteget i deras karriär och tränaren var viktig för dem på olika sätt. Resultaten diskuterades i förhållande till teoretiskt ramverka och tidigare forskning.

This dissertation is an experiment in thinking with the story, not about the story in order to erase the boundaries between analysis and narrative. CASA, Community Action Stops Abuse, is the context for this research on the lived realities and meaning of working with an empowerment philosophy. A University-Community Initiative (UCI) grant with CASA and the University of South Florida is the occasion to study the communicative aspects of individual and collective perceptions of empowerment. The dissertation focuses broadly on two UCI project goals: developing a collaborative relationship and producing a booklet of stories about the work of paid staff and volunteers. The heart of the dissertation is my relationship with the CASA workers and how scholarship and advocacy intersect with a philosophy of reciprocal and compassionate empowerment.

This dissertation reveals a twentieth-century tradition of poetic formalism that positions race, gender, and sexuality as formal concerns, and further, as key factors in the development of contemporary formal poetics. My readings of three contemporary poets, Akilah Oliver, Sharon Bridgforth, and Alice Notley, combine formalist analysis with cultural approaches, including critical race theory and queer theory, to show how contemporary poets use form to confront racist, sexist, and homophobic representational traditions and to reshape identity discourse. This project intervenes in a critical tradition that divorces poetic form from political context and neglects formal aspects of poetries that engage with social identities, especially African American poetry. As Notley, Oliver, and Bridgforth portray racial, gender, and sexual diversity—including gay, lesbian, bisexual, and transgendered bodies—they invent and remake forms, genres, and textual strategies, from the feminist epic to the performance novel. These new forms exceed the strategies of rupture, fracture, and fragmentation that marked many modern and postmodern experiments and, in fact, reveal the limitations of rupture as a means of political critique. Instead, they widen the field of formalism, incorporating performance genres (epic, storytelling, blues) and new textual strategies to call attention to the histories of bodies and their representations, assert interdependent identities, promote pluralism, and insist on the interrelationship of literature, orality, and bodily experience. / text