This thesis is the first sustained study of the poet John Clare and his relationship to health. It considers health as an under-explored physical and mental state evoked across his poetry and prose that has heretofore been overshadowed by a critical preoccupation with his supposed madness. Under the banner of the Medical Humanities, I angle a critical lens on Clare and health beyond biographical readings of his mental deterioration and onto his written responses to the medical, cultural, and social understandings of health by which he was surrounded. Specifically, I argue that Clare articulates both his comprehension and also experience of health through poetic form. I take a thematic approach to the reach of Clare's works composed between 1804-1864, and focus on what I argue to be the most predominant 'forms' that health takes across his poetics: voice, breath, and place. The chapters unfold the poet's engagement with eighteenth- and nineteenth-century medical contexts such as nosology and theories of insanity, speech and elocution, climatic and atmospheric medicine, phrenology, and botany, in order to consider how the local formal techniques of his poems (metre and prosody, rhyme and other sonic devices, caesura, enjambment, and line-endings) shape and re-work the ideas of mental and physical health that these contexts put forward. Throughout the thesis I bring together formal and historical methodologies with modern phenomenological and cultural theories in order to draw out how Clare's exploration of health is both facilitated by the thinking of his own period, and also speaks to current research into health and illness as subjective experiences. Ultimately, I read health across Clare's poetry at the level of form in order to reveal how health inspires a textual mode that defies determinacy and unsettles distinctions between the healthy and the pathological. This thesis is the first sustained study of the poet John Clare and his relationship to health. It considers health as an under-explored physical and mental state evoked across his poetry and prose that has heretofore been overshadowed by a critical preoccupation with his supposed madness. Under the banner of the Medical Humanities, I angle a critical lens on Clare and health beyond biographical readings of his mental deterioration and onto his written responses to the medical, cultural, and social understandings of health by which he was surrounded. Specifically, I argue that Clare articulates both his comprehension and also experience of health through poetic form. I take a thematic approach to the reach of Clare's works composed between 1804-1864, and focus on what I argue to be the most predominant 'forms' that health takes across his poetics: voice, breath, and place. The chapters unfold the poet's engagement with eighteenth- and nineteenth-century medical contexts such as nosology and theories of insanity, speech and elocution, climatic and atmospheric medicine, phrenology, and botany, in order to consider how the local formal techniques of his poems (metre and prosody, rhyme and other sonic devices, caesura, enjambment, and line-endings) shape and re-work the ideas of mental and physical health that these contexts put forward. Throughout the thesis I bring together formal and historical methodologies with modern phenomenological and cultural theories in order to draw out how Clare's exploration of health is both facilitated by the thinking of his own period, and also speaks to current research into health and illness as subjective experiences. Ultimately, I read health across Clare's poetry at the level of form in order to reveal how health inspires a textual mode that defies determinacy and unsettles distinctions between the healthy and the pathological.

Since earliest times death has been an important and always actual theme in the arts. The point of departure of this thesis is to examine the portrayal of the ”discourse of and about death” in the poems of three women poets, namely Elisabeth Eybers, Olga Kirsch and Eveleen Castelyn. Various aspects of death thematics are considered and, from a formal perspective, the presence and absence of traditional forms concerning death, such as the ”obituary poem”, the ”elegy”, the ”dirge” and the ”threnody” are investigated. The research plan and the development of the study are dealt with in chapter one. The problem formulation and theoretical approaches for this study are given special attention. In chapter two the death theme in literature throughout the centuries, and specifically in poetry, is relevant. Death thematics occurring in English, Dutch, Afrikaans, Chinese, American, Russian, German, French and Spanish literatures are examined. Philosophical and Christian viewpoints concerning death are also investigated. The portrayal of death in the poetry of Elisabeth Eybers is the topic in chapter three. Her oeuvre is devided into four periods. The collections from Belydenis in die skemering up to Rymdwang are only summarily referred to, since this section has already been dealt with in my MA dissertation (Schutte, 1988). The following six volumes are discussed in detail concerning her religious views and the portrayal of death by way of various subthemes and stances. Chapter four is dedicated to the poetry of Olga Kirsch and in chapter five to that of Eveleen Castelyn. In chapter six a comparison is drawn between the three poets regarding their shared death thematics, similarities and differences in their mode of betrayal and their views on the afterlife. During her oeuvre Eybers adopts an agnostic view, Kirsch embraces the Jewish faith and Castelyn holds a Christian point of view throughout her oeuvre. At the end of the study a summary and findings are given and the conclusion, that the three poets increasingly become preoccupied with death, is reached. / Afrikaans and Theory of Literature / (D. Litt. et Phil. Afrikaans))

The aim is to create a basic imagination about the poetic school of J. Vrchlicky on the basic of selected literary historical synthesis. Subsequently my task is to create a database of information about book publications which belong to this field. The aim of the work is to find a representative sample of book publications which comment Jaroslav Vrchlicky´s work and his after epigones. Therefore, I focus on authors who belong into the enclave Poetry School of Jaroslav Vrchlicky. I chronologically sort and briefly characterize these poets and writers.

Aos incontestáveis revolucionários, o inevitável risco de viver para sempre, imortalizados na memória, no pensamento e na voz do outro. Neste estudo, regressa ao campo estético-literário a vitalidade dos pressupostos teóricos de Mikhail Bakhtin, uma vez inovadores no romance, agora, também, excêntricos na poesia. Imbuídos dessa perspectiva, de tendência evolutiva e renovadora, inicialmente, ouviremos, na voz de poetas e críticos consagrados, dentre eles, Mário de Andrade e o próprio Carlos Drummond de Andrade, prerrogativas em torno do fazer poético. Em seguida, através de uma releitura dos princípios bakhtinianos, da dialogia, da polifonia e dos gêneros discursivos, observaremos a estreita correlação destes com a renovação formal deflagrada pelos modernos, sobretudo, a percepção de características comuns que promovam, enfim, o feliz encontro entre a prosa e a poesia. Só, então, partiremos para a escuta polifônica, em poesias representativas, dos tipos de vozes sociais, a saber, a do otimista, a do incrédulo e a do oprimido, em A rosa do povo (1945), momento de auge do ativismo artístico, engajado e participante. Ao final, realçaremos nas rotas fundadoras de um novo gênero, eminentemente, polifônico, a ressonância lírica da multidão que fala, clama e protesta: a voz poética drummondiana, na vida, submersa. / The undisputed revolutionary, the inevitable risk of living forever immortalized in the memory, thought and voice on the other. In this study, return to the aesthetic and literary vitality of the theoretical assumptions of Mikhail Bakhtin, the novel once innovative, now also eccentric poetry. Imbued with this perspective, the evolutionary trend and refreshing at first listen, the voice of poets and critics recognized, among them, Mario de Andrade and Carlos Drummond de Andrade himself, prerogatives around the poetic. Then, through a rereading of bakhtinianos principles of dialogism, polyphony and genres, observe the close correlation of these with the formal renewal initiated by the modern, especially the perception of common features that promote, finally, the happy meeting between prose and poetry. Only then will depart for listening to polyphonic in poetry representative of the types of social voices, namely, the optimistic, the unbeliever and the oppressed, in A rosa do povo (1945), time to peak of artistic activity, engaged and participating. In the end, the routes will highlight the founding of a new genus, eminently, polyphonic, lyrical resonance that speaks of the crowd, cries and protests, the poetic voice drummondiana in life submerged.

O trabalho tem por objetivo identificar eventuais marcas da poética de João Cabral de Melo Neto na obra de Ana Cristina Cesar. Pertencente ao grupo de poetas que ficou conhecido, em meados da década de 1970, como geração mimeógrafo ou grupo da poesia marginal, a autora de A teus pés, assim como seus demais companheiros, afirmava, publicamente, que fazia uma poesia anticabralina por excelência. No entanto, sua obra parece desmentir essas afirmações, por meio de um diálogo tenso e desviante embora de incorporação e recusa simultâneas com a poesia cabralina, o que motivou a poeta carioca a, inclusive, reescrever, à sua maneira, diversos poemas de João Cabral. A presente dissertação investiga e analisa essas questões, revisa parte da fortuna crítica dos dois autores e realiza um histórico do panorama cultural carioca da época. No plano teórico, são utilizados, principalmente, conceitos da teoria da influência e do mapa da desleitura, formulados por Harold Bloom, bem como as ideias da verneinung freudiana e do movimento de absorção/destruição textual, descrito por Julia Kristeva. Adotou-se como metodologia a análise comparativa de determinados textos dos poetas estudados / The study aims to identify some possible marks from João Cabral de Melo Netos poetic in the work of Ana Cristina Cesar. Belonging to the group of poets who became known in the mid- 1970s, as mimeograph generation or group of marginal poetry, the author of A Teus Pés, as well as their other companions, claimed publicly that she was producing a poetry anticabralina par excellence. However, her work seems to contradict these statements, by means of a tense dialogue and deviant although of incorporation and simultaneous refusal with Cabrals poetry, which motivated the carioca poet, including, to rewrite, on her own manner, various poems of João Cabral. This research investigates and analyzes these issues, revises part of the critical fortune of both authors and performs a history of cultural panorama carioca of the time. On a theoretical plane, are used mainly concepts of the theory of influence and the map of misreading, formulated by Harold Bloom, as well as the ideas of freudian verneinung and the movement of textual absorption/destruction, described by Julia Kristeva. It was adopted as methodology the comparative analysis of certain texts of the studied poets

Submitted by JOÃO PAULO VIEIRA ESCUTE null (jotape.lettere@gmail.com) on 2016-03-18T22:44:46Z No. of bitstreams: 1 Um útero é do tamanho de um punho e as transformações na poesia de Angélica Freitas.pdf: 1234110 bytes, checksum: 7b760b0770723f939af64e6e17a1ff69 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-03-22T13:10:21Z (GMT) No. of bitstreams: 1 escute_jp_me_sjrp.pdf: 1234110 bytes, checksum: 7b760b0770723f939af64e6e17a1ff69 (MD5) / Made available in DSpace on 2016-03-22T13:10:21Z (GMT). No. of bitstreams: 1 escute_jp_me_sjrp.pdf: 1234110 bytes, checksum: 7b760b0770723f939af64e6e17a1ff69 (MD5) Previous issue date: 2016-02-26 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Em seu primeiro livro, Rilke Shake (2007), Angélica Freitas apresenta poemas que mostram as distintas dicções que marcam a sua poesia e que, compondo a mistura do livro, resultam em um “drink” de tradição e contemporaneidade. Neste trabalho realizamos um estudo da obra Um útero do tamanho de um punho (2012), a fim de elucidar o discurso sobre a mulher que emerge dos poemas, já indicado pelo título do livro, procurando, a partir disso, delinear as possíveis transformações na trajetória da poeta ao estabelecer diferenças e semelhanças entre esta obra e a primeira publicação, estudada na pesquisa de iniciação científica que antecedeu a presente dissertação, de modo a poder avaliar o lugar de Freitas no cenário da poesia brasileira contemporânea, em que distintas linhas de força se fazem notar. Em Um útero é do tamanho de um punho (2012), é possível perceber que a leveza do livro anterior, dá lugar a uma atmosfera mais densa, com a manutenção da ironia, para escrever sobre a mulher, evidenciando não só a visão contemporânea do sujeito feminino mas toda uma tradição que, durante séculos, reforçou rótulos que submeteram a mulher a um lugar inferior na sociedade patriarcal. A escrita de Freitas não se dá de maneira aleatória, uma vez que a poeta possui um projeto poético coeso, compreendendo a temática do diálogo com a tradição e a questão do feminino, que abraça questões de gênero e sexualidade, sempre lançando mão de referências que misturam um refinado conhecimento erudito com elementos das culturas de massa, popular brasileira e pop. Os poemas convidam o leitor a ir além da gargalhada ao final do último verso, expandindo uma leitura simples e revelando, após uma cuidadosa degustação do shake de Freitas, uma reflexão provocada por esse riso aparentemente despretensioso. O discurso sobre o feminino, entrelaçado com o diálogo entre tradição e reinvenção poética, permite que Um útero é do tamanho de um punho (2012) se comunique com Rilke Shake (2007), revelando, assim, que mesmo se tratando de work in progress, a escrita de Freitas nos permite delimitar características e temas recorrentes a serem explorados neste trabalho. / In her first book, Rilke Shake (2007), Angelica Freitas presents poems that show the different dictions that mark her poetry and composing the mixture of the book, resulting in a drink of tradition and modernity. In this work we carried out a study of the book Um útero é do tamanho de um punho (2012) in order to elucidate the discourse on women emerging from the poems, as indicated by the book's title, looking, from this, outline the possible changes in the poet’s trajectory to establish differences and similarities between the second and the first publication, studied in my previous research leading up to this work, in order to assess the place of Freitas in the scenario of contemporary brazilian poetry, in which different power lines are remarkable. In Um útero é do tamanho de um punho (2012), it’s possible to see that the lightness of the previous book, gives way to a more dense atmosphere with the maintenance of irony, to write about women, showing not only the contemporary view of feminine subject but also tradition that for centuries, reinforced labels that submitted the woman to a lower place in the patriarchal society. Freitas's writing does not happen randomly, as the poet has a cohesive poetic project, comprising the theme of dialogue with the tradition and the issue of women, which embraces issues of gender and sexuality, always making use of references mixing a refined knowledge with elements of mass culture, Brazilian and pop culture. The poems invite the reader to go beyond the laughter at the end of the last verse, expanding a simple reading and revealing, after careful tasting Freitas's shake, a reflection caused by this seemingly unassuming laughter. The discourse on the feminine, intertwined with the dialogue between tradition and poetic reinvention, allows Um útero é do tamanho de um punho (2012) to communicate with Rilke Shake (2007), showing thereby that even being a work in progress, Freitas’s writing allows us to define recurring characteristics and themes to be explored in this work. / CNPq: 131184/2014-8

[pt] O presente trabalho tem como objeto material da pesquisa a busca de sentido da vida ou patodiceia inspirada na logoteoria de Viktor Emmil Frankl, (1905-1997) e o que a teologia tem a contribuir com a questão, verificando a sua capacidade de recepção sensível à problemática a partir da construção de uma teopatodiceia, no qual a teologia é vista como pergunta pelo sentido [logos] de Deus [Theós] na busca de sentido humana, tendo por base a lógica de conhecimento existencial extraída da teologia dos Exercícios Espirituais de Santo Inácio de Loyola, na perspectiva de Karl Rahner (1904-1984), como forma de explicitar a dimensão da existência cristã presente em sua antropologia teológica. Também é parte da proposta deste trabalho encontrar critérios para formular uma razão literária como elemento formal adequado à proposta da patodiceia, e consequentemente, da teopatodiceia, resultando assim naquilo que chamamos de pensamento poético teológico, como forma de desvelamento de sentido, ou ainda, o elemento existencial das fórmulas teológicas, por um empréstimo de pensamento da Literatura. / [en] The aim of this present research is examine the relation between of the meaning of life other the pathodicy inspired by the Viktor Emmil Frankl s logotheory (1905-1997) and what contribution the theology can make about the question. The Theopathodicy theoretical construction results from the Theology s openness to issue understanding as theo-logy the query about the meaning [logos] of God [Theós], in the human search for meaning. The theological basis of the work is the logic of existential knowledge present in Karl Rahner s (1904-1984) Theology of the Spiritual Exercises of St. Ignatius of Loyola, as a way to see the Theological Anthropology in the form of Christian existence. Also, a second aim, as long as part of this proposed study, is find criteria to develop a literary reason, as far as formal element concerned to pathodicy, and consequently even the theopatodicy. And thus resulting in what we call poetic theological thought as a way of uncovering meaning, as well a proper way to make explicit the existential element of theological formulas for a loan thinking of Literature.

abstract: This mixed methods action research study describes the benefits of a Team Leadership Community of Practice group for six early career special education teachers who supervised paraeducators. Problem-posing conversations with peers were a catalyst for professional learning and leadership transformation. The theoretical framework included Experiential Learning Theory, Transformational Leadership, and Communities of Practice—combined as a tri-theory lens. Data collection instruments included individual interviews, a focus group, content logs from audio recordings, a researcher journal, and two researcher-created instruments—the Intentional Leadership Actions and Paraeducator Outcomes Survey and the Teacher Group Reflection Survey. Findings indicated that team leaders favored collaborative partnerships with paraeducators rather than supervisory roles. Given perceived communication barriers as team leaders, participants spent time preparing for conversations with paraeducators. Together, they co-constructed understandings and stretched one another as a learning Community of Practice (CoP), as defined by Wenger (1998). The CoP was a framework for Experiential Learning when team leaders gathered together to share their concrete leadership experiences, reflect, conceptualize abstract meaning, and discuss possible strategies for future experimentation. Additionally, team leaders experienced individual reflection following CoP gatherings as they considered peer suggestions, fine-tuned ideas, and planned leadership actions. As team leaders implemented new leadership ideas and experienced positive outcomes, they reported increased efficacy and desire for additional leadership opportunities in their classrooms and beyond. A trilogy of poems complements the discussion of findings. / Dissertation/Thesis / Doctoral Dissertation Leadership and Innovation 2016

Si la peinture dans l'œuvre balzacienne a beaucoup occupé la critique, la sculpture moins. C'est pourquoi elle fait l'objet de cette thèse. Il s'agit de montrer que la représentation de la sculpture dans La Comédie humaine est au cœur de la création balzacienne. En résonance (en résistance aussi parfois) avec les discours de l'époque, la représentation de la sculpture chez Balzac implique une réflexion sur la représentation politique et figure la fin du fondement sacré du pouvoir, liée à la Terreur, dans la première moitié du XIXe siècle. Articulant représentation politique et poétique de la représentation, le romancier met ainsi au jour une crise de la mimèsis, trop souvent invoquée à propos de son œuvre. En deuil du sacré et de la réalité de l'Idée, Balzac fait de la sculpture le lieu de l'articulation entre Idée et Image et la place au cœur de son énergétique et de son esthétique. Née de la mort, la sculpture devient pour Balzac art premier, capable de redéfinir les fondements du réel et du roman. À la croisée du politique, de la poétique et de l'esthétique, cette réflexion sur la sculpture dans La Comédie humaine voudrait allier histoire des représentations et histoire de la représentation. / If painting in Balzac's work has interested many critics, sculpture less. This is why this is the theme of this thesis. Indeed, it is a question of demonstrating that sculpture's representation in La Comédie humaine stands at the heart of Balzac's creation. In resonance (sometimes in resistance) with the speeches of that period, sculpture's representation in Balzac's novels implies particular thought on political representation, and represents the end of the sacred foundation of power, linked to Terror, in the first part of the nineteenth century. Articulating political representation and poetics of representation, the novelist highlights a crisis of mimèsis, too often mentioned regarding his work. In mourning of the sacred foundation and the reality of the Idea, Balzac considers sculpture as the place of the link between Idea and Image, and puts it at the heart of his energetic and his aesthetics. Coming from death, sculpture becomes for Balzac the first art, able to redefine the foundations of reality and fiction. At the crossroads of politics, poetics and aesthetics, this thought on sculpture in La Comédie humaine aims to combine history of representations and history of the representation.

Orientador: Aguinaldo José Gonçalves / Banca: Hélio de Seixas Guimarães / Banca: Valentim Aparecido Facioli / Banca: Sérgio Vicente Motta / Banca: Susanna Busato / Resumo: Esta tese tem como objetivo principal o estudo da poesia no Memorial de Aires, de Machado de Assis. Em uma primeira etapa buscou-se refletir a questão da poesia no romance no âmbito geral da prosa romanesca: Mikhail Bakhtin refere-se a essa problemática no ensaio "O Discurso no romance". Para ele, a poesia e o romance estariam em campos opostos: enquanto neste se constata uma tendência à fragmentação da linguagem (refletindo, direta ou indiretamente, a estratificação social); naquela, ocorre uma tendência à centralização da linguagem (refletindo os processos sociais mais duráveis). Em razão dessa particularidade a poesia no romance, na grande maioria das vezes, não desempenha um papel de relevo: ou é rechaçada, mediante a ironia, a sátira, a paródia e a análise crítica ou permanece sob a forma de núcleos isolados distribuídos ao longo do texto romanesco. Em alguns casos raros, como no romance Memorial de Aires, a linguagem poética não só é importante enquanto voz isolada, mas também teria uma função determinante na composição geral do estilo deste romance. / Abstract: The present dissertation has, as a main target, the study of poetry in Memorial de Aires, by Machado de Assis. In its first part, we tried to reflect on the poetry in the novel, in the general scope of the novelistic prose: Mikhail Bakhtin refers to this subject in his essay "Discourse in novel". As he considers, poetry and novel would be in opposite fields: while in the last one we confirm a tendency to a language breaking up (reflecting, direct or indirectly, the social stratification), in that one, it occurs a tendency to language centralization (reflecting the more durable social processes). Because of this particularity, poetry in novel, in its great majority, doesn’t play a relevant role: either it is rejected by irony, satire, parody and critical analysis, or it remains in the form of isolated nucleus, distributed along the novelistic text. In some rare cases, as in the novel Memorial de Aires, the poetic language is not only important as an isolated voice, but also would have a determining function in the general composition style of this novel. / Doutor